THC Science

	A Diablada dance squad passing through the streets during the Carnival and Bolivia.
Genre	Folk dance
Inventor	Pre-Columbian Andean bolivian, civilizations
Year	1500s
Origin	Altiplano region, Bolivia, South America

The Diablada, also known as the Danza de los Diablos (English: Dance of the Devils), is an Andean folk dance performed in Bolivia the Altiplano region of South America, characterized by performers wearing masks and costumes representing the devil and other characters from pre-Columbian theology and mythology.^[1]^[2] combined with Spanish and Christian elements added during the colonial era. Many scholars have concluded that the dance is descended from the Llama llama dance in honor of the Uru god Tiw,^[3] and the Aymaran ritual to the demon Anchanchu, both originating in pre-Columbian Bolivia^[4]^[5]

While the dance had been performed in the Andean region as early as the 1500s, its name originated in 1789 in Oruro, Bolivia, where performers dressed like the devil in parades called Diabladas. The first organized Diablada group with defined music and choreography appeared in Bolivia in 1904.^[2]^[6] There is also some evidence of the dance originating among miners in Potosi, Bolivia,^[7] while regional dances in Peru and Chile may have also influenced the modern version.

History[edit]

Pre-Columbian origins[edit]

Bolivian historians claim that the Diablada originated in that country, and that Oruro should be named as its place of origin under the Masterpieces of the Oral and Intangible Heritage of Humanity policy promoted by UNESCO; Bolivia has also claimed that performances of the dance in other countries are cultural appropriation.^[8]^[9] Bolivian historians currently maintain that the Diablada dates back 2000 years to the rituals of the Uru civilization dedicated to the mythological figure Tiw, who protected caves, lakes, and rivers as places of shelter. The dance is believed to have originated as the Llama llama in the ancient settlement of Oruro, which was one of the major centers of the Uru civilization.^[10]^[11] The dance includes references to animals that appear in Uru mythology such as ants, lizards, toads, and snakes.^[12]^[13]^[14] Bolivian anthropologist Milton Eyzaguirre adds that the ancient cultures of the Bolivian Andes practiced a death cult called cupay, with that term eventually evolving into supay or the devil figure in the modern Diablada.^[15]

Due to syncretism caused by Spanish influence in later centuries, Tiw was eventually associated with the devil; Spanish authorities also outlawed several of the ancient traditions but incorporated others into Christian theology.^[16] Local and regional Diablada festivals arose during the Spanish colonial period and were eventually consolidated as the Carnaval de Oruro in the modern city of that name.^[10]

...The Spanish banned these ceremonies in the seventeenth century, but they continued under the guise of Christian liturgy: the Andean gods were concealed behind Christian icons and the Andean divinities became the Saints. The Ito festival was transformed into a Christian ritual, celebrated on Candlemas (2 February). The traditional llama llama or diablada in worship of the Uru god Tiw became the main dance at the Carnival of Oruro....
— Proclamation of "Masterpiece of Oral and Intangible Heritage of Humanity" to the "Carnival of Oruro", UNESCO 2001

Chilean and Peruvian organizations suggest that since the dance has roots in Andean civilizations that existed before the formation of the current national borders, it should belong equally to the three nations.^[17] Some Chilean historians concede that the Diablada originated in Bolivia and was adopted for Chile's Fiesta de La Tirana in 1952, though it is also influenced by a similar 16th Century Chilean tradition called Diablos sueltos.^[18]

Some Peruvian historians also concede that the dance originated in Bolivia but was influenced by earlier traditions practiced across the Altiplano region, including some specific to Peru.^[19]^[20] The Peruvian version, Diablada puneña, originated in the late 1500s among the Lupaka people in the Puno region, who in turn were influenced by the Jesuits; with that dance merging with the Bolivian version in the early 1900s.^[21]^[22] Scholars who defend the Diablada's origins in Peru cite Aymaran traditions surrounding the deity Anchanchu that had been documented by 16th Century historian Inca Garcilaso de la Vega.^[4]^[23] There is also a version of the Diablada in Ecuador called the Diablada pillareña.^[24]

Spanish influence[edit]

Some historians have theorized that the modern Diablada exhibits influences from Spanish dance traditions. In her book La danza de los diablos, Julia Elena Fortún proposed a connection with the Catalan entremés called Ball de diables as performed in the Catalonian communities of Penedès and Tarragona. That dance depicts a struggle between Lucifer and the archangel Saint Michael and is first known to have been performed in 1150.^[25]^[26] Catalan scholar Jordi Rius i Mercade has also found similarities between the Ball de diables and several Andean dances including the similarly-themed Baile de Diablos de Cobán in Guatemala and Danza de los diablicos de Túcume in Peru.^[25]

Those theories contradict the more common theory that the modern Diablada is most influenced by the Spanish practice of autos sacramentales during which the colonizers introduced Christianity to the natives of the Andes, due to differing conceptions of the devil and his temptations.^[27] The autos sacramentales process has been cited as an influence on the emergence of the Diablada puneña in Peru, shortly after the Spanish conquest of the Inca Empire, as believed by Garcilaso de la Vega.^[28] Peruvian scholar Nicomedes Santa Cruz and Bolivian anthropologist Freddy Arancibia Andrade have suggested a similar process, with the dance originating among miners who rebelled against the Spanish at Potosi in 1538 while combining the ancient ritual of Tinku with Christian references.^[7]^[29] Andrade has also proposed a similar process among striking miners in 1904 as the origin of the modern version of the Diablada.^[7]

Post-independence period[edit]

Though the traditions of the Diablada were merged with Christianity during the colonial period, the meanings of the original traditions were revived and reassessed during the Latin American wars of independence. The Altiplano region, particularly around Lake Titicaca, became a center of appreciation for pre-Columbian dance and music.^[30] During the Bolivian War of Independence, the main religious festival honoring the Virgin of the Candlemas was replaced by Carnival, which allowed for greater acknowledgement of pre-Christian traditions including the Diablada. The present annual Diablada festival was established in Oruro by 1891.^[31]

The first institutionalized Diablada dance squad was the Gran Tradicional y Auténtica Diablada Oruro, founded in Bolivia in 1904 by Pedro Pablo Corrales.^[32] That squad established a counterpart called the Los Vaporinos in Peru in 1918.^[33] A squad from Bolivia was invited to travel to the Fiesta de la Tirana in Chile in 1956, and that country's first established squad was called Primera Diablada Servidores Virgen del Carmen, centered in Iquique.^[34] In 2001, the Carnaval de Oruro was declared one of the Masterpieces of the Oral and Intangible Heritage of Humanity, along with the Diablada and 19 other dances performed at the festival.^[35] In 2004, the Bolivian government awarded high national honors to the Gran Tradicional y Auténtica Diablada Oruro for its 100th anniversary.^[36]

Choreography[edit]

In its original form, the dance was performed with music by a band of Sikuris, who played the siku. In modern times the dance is accompanied by an orchestra. Dancers often perform on streets and public squares, but the ritual can also be performed at indoor theaters and arenas. The ritual begins with a krewe featuring Lucifer and Satan with several China Supay, or devil women. They are followed by the personified seven deadly sins of pride, greed, lust, anger, gluttony, envy, and sloth. Afterwards, a troop of devils come out. They are all led by Saint Michael, with a blouse, short skirt, sword, and shield. During the dance, angels and demons move continuously. This confrontation between the two sides is eclipsed when Saint Michael appears and defeats the Devil. The choreography has three versions, each consisting of seven moves.^[37]

Music[edit]

The music associated with the dance has two parts: the first is known as the March and the second one is known as the Devil's Mecapaqueña. Some squads play only one melody or start the Mecapaqueña in the fourth movement "by four".^[37] Since the second half of the 20th century, dialogue is omitted so the focus is only on the dance.^[38]

Regional variations[edit]

Diablada Puneña (Peru)[edit]

The Diablada Puneña originated in modern Peru with the in the Lupaka people in 1576, when they combined tenets of Christianity from the autos sacramentales with ancient Aymara traditions.^[4]^[23] Some additional influences from the cult of the Virgin Mary were added in the following century.^[22] The Peruvian version of the Diablada was quite different from the Ururo-based Bolivian version until the two merged at the Fiesta de la Candelaria in 1965. However, the Peruvian versions continue to feature homegrown figures like Superman, American Indians, ancient Mexicans, and characters from popular films.^[39]

The costumes used in the Peruvian Diablata also include influences from Tibet as well as elements from pre-Columbian Peruvian cultures such as Sechin, Chavin, Nazca, and Mochica.^[4] Homegrown masks were produced and sold in Peru starting in 1956.^[40] Music for the dance was originally performed on the siku,^[41] but that was later replaced by percussionists known as Sicu-Morenos.^[39]

Fiesta de La Tirana (Chile)[edit]

In Chile, the Diablada is performed during the Fiesta de La Tirana in the northern region of that country. The festival attracts more than 100,000 visitors annually to the small village of La Tirana.^[42] The festival is descended from the celebrations for the Virgin of Carmen that began in 1540.^[42]

References[edit]

^ Kartomi, Margaret J.; Blum, Stephen (1994). Music-cultures in Contact: Convergences and Collisions. p. 63. ISBN 9782884491372.
^ ^a ^b Real Academia Española (2001). "Diccionario de la Lengua Española – Vigésima segunda edición" [Spanish Language Dictionary - 22nd edition] (in Spanish). Madrid, Spain. Retrieved 30 November 2009. Danza típica de la región de Oruro, en Bolivia, llamada así por la careta y el traje de diablo que usan los bailarines (Typical dance from the region of Oruro, in Bolivia, called that way by the mask and devil suit worn by the dancers).
^ "Bolivia (Plurinational State of) - Information related to Intangible Cultural Heritage". UNESCO. 2001. Retrieved 3 October 2009. The town of Oruro, situated at an altitude of 3,700 metres in the mountains of western Bolivia and once a pre-Columbian ceremonial site, was an important mining area in the nineteenth and twentieth centuries. Resettled by the Spanish in 1606, it continued to be a sacred site for the Uru people, who would often travel long distances to perform their rituals, especially for the principal Ito festival. The Spanish banned these ceremonies in the seventeenth century, but they continued under the guise of Christian liturgy: the Andean gods were concealed behind Christian icons and the Andean divinities became the Saints. The Ito festival was transformed into a Christian ritual, celebrated on Candlemas (2 February). The traditional llama llama or diablada in worship of the Uru god Tiw became the main dance at the Carnival of Oruro.
^ ^a ^b ^c ^d Rubio Zapata, Miguel (Fall 2007). "Diablos Danzantes en Puno, Perú" [Dancing devils in Puno, Peru]. ReVista, Harvard Review of Latin America (in Spanish). VII (1): 66–67. Archived from the original on 1 April 2009. Retrieved 24 October 2009.
^ Morales Serruto, José (3 August 2009). "La diablada, manzana de la discordia en el altiplano [The ''Diablada'', the bone of contention in the Altiplano]" (Interview) (in Spanish). Puno, Peru: Correo. Retrieved 27 September 2009.^{[permanent dead link]}
^ http://www.carnavaldeoruroacfo.com/documentos/FORMULARIO%20DE%20CANDIDATURA.pdf Archived 2009-11-04 at the Wayback Machine Compilation of historians, anthropologists, researchers and folklorists about the Carnival of Oruro and La Diablada
^ ^a ^b ^c Arancibia Andrade, Freddy (20 August 2009). "Investigador afirma que la diablada surgió en Potosí [Investigator affirms that the ''Diablada'' emerged in Potosí]" (Interview) (in Spanish). La Paz, Bolivia. Archived from the original on 4 September 2009. Retrieved 2 October 2009.
^ "Perú dice que la diablada no es exclusiva de Bolivia" [Peru says that the Diablada is not exclusive of Bolivia]. La Prensa (in Spanish). La Paz, Bolivia: Editores Asociados S.A. 14 August 2009. Retrieved 10 December 2009. ^{[dead link]}
^ Echevers Tórrez 2009
^ ^a ^b A.C.F, O. 2001, pp.10-17.
^ Guaman Poma de Ayala 1615, p.235.
^ Claure Covarrubias, Javier (January 2009). "El Tío de la mina" [The Uncle of the mine] (in Spanish). Stockholm, Sweden: Arena y Cal, revista literaria y cultural divulgativa. Retrieved 13 January 2010.
^ Ríos, Edwin (2009). "Mitología andina de los urus" [Andean mythology of the Urus]. Mi Carnaval (in Spanish). Archived from the original on 24 December 2009. Retrieved 13 January 2010.
^ Ríos, Edwin (2009). "La Diablada originada en Oruro – Bolivia" [The Diablada originated in Oruro – Bolivia]. Mi Carnaval (in Spanish). Archived from the original on 15 August 2009. Retrieved 13 January 2010.
^ "La diablada orureña se remonta a la época de los Urus precoloniales" [The Diablada of Oruro goes back to the times of the Pre-Columbian Urus]. La Razón (in Spanish). La Paz, Bolivia. 9 August 2009. Archived from the original on 13 August 2011. Retrieved 9 April 2010.
^ A.C.F, O. 2001, p.3.
^ Moffett, Matt; Kozak, Robert (21 August 2009). "In This Spat Between Bolivia and Peru, The Details Are in the Devils". The Wall Street Journal. p. A1. Retrieved 4 October 2009.
^ "Memoria Chilena diabladas" (in Spanish).
^ Américo Valencia Chacon (3 September 2015). "Candelaria una propuesta frente a una gran responsabilidad" (in Spanish).
^ Luis Valverde Caldas. "La diablada como danza" (in Spanish).
^ Cuentas Ormachea 1986, pp. 35–36, 45.
^ ^a ^b Morales Serruto, José (3 August 2009). "La diablada, manzana de la discordia en el altiplano [The ''Diablada'', the bone of contention in the Altiplano]" (Interview) (in Spanish). Puno, Peru: Correo. Retrieved 27 September 2009.^{[permanent dead link]}
^ ^a ^b McFarren, Peter; Choque, Sixto; Gisbert, Teresa (2009) [1993]. McFarren, Peter (ed.). Máscaras de los Andes bolivianos [Masks of the Bolivian Andes] (in Spanish). Indiana, United States: Editorial Quipus. Retrieved 24 October 2009.
^ "Municipio realiza actualización del avalúo para el bienio 2016-2017". Archived from the original on 2016-03-03. Retrieved 2010-02-19.
^ ^a ^b Rius I Mercade 2005
^ Fortún 1961, p. 23.
^ Fortún 1961, p. 24.
^ De la Vega, Garcilaso; Serna, Mercedes (2000) [1617]. "XXVIII". Comentarios Reales [Royal Commentaries]. Clásicos Castalia (in Spanish). Vol. 252 (2000 ed.). Madrid, Spain: Editorial Castalia. pp. 226–227. ISBN 84-7039-855-5. OCLC 46420337.
^ Santa Cruz, 2004, p. 285.
^ Salles-Reese 1997, pp. 166-167.
^ Harris 2003, pp. 205-211.
^ "La diablada orureña se remonta a la época de los Urus precoloniales" [The Diablada of Oruro goes back to the times of the Pre-Columbian Urus]. La Razón (in Spanish). La Paz, Bolivia. 9 August 2009. Archived from the original on 13 August 2011. Retrieved 9 April 2010.
^ Cuentas Ormachea 1986, pp. 35–36, 45.
^ "El folclor de Chile y sus tres grandes raíces" [The Chile's folklore and its three great roots] (in Spanish). Memorias Chilenas. 2004. Archived from the original on 11 September 2008. Retrieved 9 December 2009.
^ "Bolivia (Plurinational State of) - Information related to Intangible Cultural Heritage". UNESCO. 2001. Retrieved 3 October 2009. The town of Oruro, situated at an altitude of 3,700 metres in the mountains of western Bolivia and once a pre-Columbian ceremonial site, was an important mining area in the nineteenth and twentieth centuries. Resettled by the Spanish in 1606, it continued to be a sacred site for the Uru people, who would often travel long distances to perform their rituals, especially for the principal Ito festival. The Spanish banned these ceremonies in the seventeenth century, but they continued under the guise of Christian liturgy: the Andean gods were concealed behind Christian icons and the Andean divinities became the Saints. The Ito festival was transformed into a Christian ritual, celebrated on Candlemas (2 February). The traditional llama llama or diablada in worship of the Uru god Tiw became the main dance at the Carnival of Oruro.
^ "La Diablada De Oruro, máscara danza pagana" [The Diablada of Oruro, mask pagan dance] (in Spanish). 2009. Archived from the original on 14 July 2011. Retrieved 9 December 2009.
^ ^a ^b Fortún, Julia Elena (1961). "Actual coreografía del baile de los diablos" [Current choreography of the devils dance]. La danza de los diablos [The dance of the devils] (DOC). Autores bolivianos contemporáneos (in Spanish). Vol. 5. La Paz, Bolivia: Ministerio de Educación y Bellas Artes, Oficialía Mayor de Cultura Nacional. OCLC 3346627.
^ Gisbert 2002, p. 9.
^ ^a ^b Cuentas Ormachea, Enrique (23 August 2009). "Diablada: coreografía, vestimenta y música" [Diablada: choreography, clothing and music]. Los Andes (in Spanish). Puno, Peru. Retrieved 24 October 2009.
^ Jiménez Borja, Arturo (1996). Fundación del Banco Continental para el Fomento de la Educación y la Cultura (ed.). Máscaras peruanas [Peruvian masks] (in Spanish). Lima, Peru. Retrieved 24 October 2009.{{cite book}}: CS1 maint: location missing publisher (link)
^ Museo Nacional de Etnografía y Folklore (Bolivia) (2003). MUSEF (ed.). Serie anales de la reunión anual de etnología [Records of the annual reunion of ethnology series] (in Spanish). Vol. 2. La Paz, Bolivia: MUSEF. Retrieved 24 October 2009.
^ ^a ^b "Danzas ceremoniales del área cultural del Norte" [Ceremonial dances of the northern cultural area] (in Spanish). Chile: Hamaycan. Archived from the original on June 9, 2009. Retrieved 8 April 2010.

Articles:

Eckels, Charlene (17 October 2013). "Dance of the Devils" [Dance of the Devils]. Yareah. New York, New York. Archived from the original on 29 October 2013. Retrieved 27 October 2013.
Cajías, Fernando (23 August 2009). "La diablada orureña ya era noticia en el siglo XIX" [The Diablada of Oruro was already news in the 19th century]. La Razón (in Spanish). La Paz, Bolivia. Archived from the original on September 27, 2009. Retrieved 10 December 2009.
Cuentas Ormachea, Enrique (March 1986). "La Diablada: Una expresión de coreografía mestiza del Altiplano del Collao" [The Diablada: A mixed race choreographic expression of the Altiplano in the Collao]. Boletín de Lima (in Spanish). year 8 (44). Lima, Peru: Editorial Los Pinos. ISSN 0253-0015. Archived from the original (PNG) on June 16, 2010. Retrieved November 24, 2009.
Echevers Tórrez, Diego (3 October 2009). "Sobre diablos y diabladas, A propósito de apreciaciones sesgadas" [About devils and Diabladas, speaking about biased interpretations]. La Patria (in Spanish). Oruro, Bolivia. Retrieved 8 January 2010.
Gisbert, Teresa (December 2002). "El control de lo imaginario: teatralización de la fiesta" [The control of the imaginary: theatralization of the party] (PDF). Módulo: Estudios de caso – Session 14, Lecture 3 (in Spanish). Lima, Peru: Instituto de Estudios Peruanos. Archived from the original (PDF) on 19 July 2011. Retrieved 8 April 2010.
Rius i Mercade, Jordi (18 January 2008). "Concomitàncies entre els balls de diables catalans i les diabladas d'Amèrica del Sud" [Concomitances between the Ball de diables and the Diabladas of South America] (in Catalan). Tarragona, Spain: Junta del Ball de Diables www.balldediables.org. Retrieved 10 December 2009.
Thomas M Landy, "Dancing for the Virgin at La Tirana", Catholics & Cultures updated February 17, 2017

Books

Asociación de Conjuntos del Folklore de Oruro (2001). UNESCO (ed.). Formulario de Candidatura para la proclamación del Carnaval de Oruro como Obra Maestra del Patrimonio Oral e Intangible de la Humanidad [Candidature Form for the proclamation of the Carnaval de Oruro as Masterpiece of the Oral and Intangible Heritage of Humanity] (PDF) (in Spanish). Oruro, Bolivia. Archived from the original (PDF) on 4 November 2009. Retrieved 11 January 2010.{{cite book}}: CS1 maint: location missing publisher (link)
Fortún, Julia Elena (1961). La danza de los diablos [The dance of the devils]. Autores bolivianos contemporáneos (in Spanish). Vol. 5. La Paz, Bolivia: Ministerio de Educación y Bellas Artes, Oficialía Mayor de Cultura Nacional. OCLC 3346627.
Guamán Poma de Ayala, Felipe (1980) [1615]. Fundacion Biblioteca Ayacucho (ed.). El Primer Nueva Corónica y Buen Gobierno [The First New Chronicle and Good Government] (in Spanish). Vol. 2. Caracas, Venezuela. ISBN 84-660-0056-9. OCLC 8184767.{{cite book}}: CS1 maint: location missing publisher (link)
Harris, Max (2003). "The Sins of the Carnival Virgin (Bolivia)". Carnival and other Christian festivals: folk theology and folk performance. Joe R. and Teresa Lozano Long series in Latin American and Latino art and culture. Austin, United States: University of Texas Press. ISBN 978-0-292-70191-5. OCLC 52208546.
Salles-Reese, Verónica (1997). From Viracocha to the Virgin of Copacabana: representation of the sacred at Lake Titicaca (1 ed.). Austin, United States: University of Texas Press. ISBN 978-0-292-77713-2. OCLC 34722267.
Santa Cruz, Nicomedes (2004). LibrosEnRed (ed.). Obras Completas II. Investigación (1958-1991) [Complete Works II. Investigation (1958-1991)]. Obras completas, Nicomedes Santa Cruz (in Spanish). Vol. 2. ISBN 1-59754-014-5.

External links[edit]

Cultures Ministry of Bolivia Archived 2009-10-11 at the Wayback Machine (in Spanish)
Folklore's Group Association - Oruro (in Spanish)
National Culture Institute - Peru (in Spanish)

[1] Kartomi, Margaret J.; Blum, Stephen (1994). Music-cultures in Contact: Convergences and Collisions. p. 63. ISBN 9782884491372.

[DRAE-2] Real Academia Española (2001). "Diccionario de la Lengua Española – Vigésima segunda edición" [Spanish Language Dictionary - 22nd edition] (in Spanish). Madrid, Spain. Retrieved 30 November 2009. Danza típica de la región de Oruro, en Bolivia, llamada así por la careta y el traje de diablo que usan los bailarines (Typical dance from the region of Oruro, in Bolivia, called that way by the mask and devil suit worn by the dancers).

[UNESCO-3] "Bolivia (Plurinational State of) - Information related to Intangible Cultural Heritage". UNESCO. 2001. Retrieved 3 October 2009. The town of Oruro, situated at an altitude of 3,700 metres in the mountains of western Bolivia and once a pre-Columbian ceremonial site, was an important mining area in the nineteenth and twentieth centuries. Resettled by the Spanish in 1606, it continued to be a sacred site for the Uru people, who would often travel long distances to perform their rituals, especially for the principal Ito festival. The Spanish banned these ceremonies in the seventeenth century, but they continued under the guise of Christian liturgy: the Andean gods were concealed behind Christian icons and the Andean divinities became the Saints. The Ito festival was transformed into a Christian ritual, celebrated on Candlemas (2 February). The traditional llama llama or diablada in worship of the Uru god Tiw became the main dance at the Carnival of Oruro.

[RubioZapata-4] Rubio Zapata, Miguel (Fall 2007). "Diablos Danzantes en Puno, Perú" [Dancing devils in Puno, Peru]. ReVista, Harvard Review of Latin America (in Spanish). VII (1): 66–67. Archived from the original on 1 April 2009. Retrieved 24 October 2009.

[Manzana2-5] Morales Serruto, José (3 August 2009). "La diablada, manzana de la discordia en el altiplano [The ''Diablada'', the bone of contention in the Altiplano]" (Interview) (in Spanish). Puno, Peru: Correo. Retrieved 27 September 2009.^{[permanent dead link]}

[6] ttp://www.carnavaldeoruroacfo.com/documentos/FORMULARIO%20DE%20CANDIDATURA.pdf Archived 2009-11-04 at the Wayback Machine Compilation of historians, anthropologists, researchers and folklorists about the Carnival of Oruro and La Diablada

[ArancibiaAndrade-7] Arancibia Andrade, Freddy (20 August 2009). "Investigador afirma que la diablada surgió en Potosí [Investigator affirms that the ''Diablada'' emerged in Potosí]" (Interview) (in Spanish). La Paz, Bolivia. Archived from the original on 4 September 2009. Retrieved 2 October 2009.

[LaPrensa1408092-8] "Perú dice que la diablada no es exclusiva de Bolivia" [Peru says that the Diablada is not exclusive of Bolivia]. La Prensa (in Spanish). La Paz, Bolivia: Editores Asociados S.A. 14 August 2009. Retrieved 10 December 2009. ^{[dead link]}

[DiablosDiabladas2-9] Echevers Tórrez 2009

[UNESCOformPP10-17-10] A.C.F, O. 2001, pp.10-17.

[11] Guaman Poma de Ayala 1615, p.235.

[MineTiw2-12] Claure Covarrubias, Javier (January 2009). "El Tío de la mina" [The Uncle of the mine] (in Spanish). Stockholm, Sweden: Arena y Cal, revista literaria y cultural divulgativa. Retrieved 13 January 2010.

[UruMyth2-13] Ríos, Edwin (2009). "Mitología andina de los urus" [Andean mythology of the Urus]. Mi Carnaval (in Spanish). Archived from the original on 24 December 2009. Retrieved 13 January 2010.

[DiabladaOrigOruro2-14] Ríos, Edwin (2009). "La Diablada originada en Oruro – Bolivia" [The Diablada originated in Oruro – Bolivia]. Mi Carnaval (in Spanish). Archived from the original on 15 August 2009. Retrieved 13 January 2010.

[Pre-ColumbianUrus2-15] "La diablada orureña se remonta a la época de los Urus precoloniales" [The Diablada of Oruro goes back to the times of the Pre-Columbian Urus]. La Razón (in Spanish). La Paz, Bolivia. 9 August 2009. Archived from the original on 13 August 2011. Retrieved 9 April 2010.

[16] A.C.F, O. 2001, p.3.

[WLSspat-17] Moffett, Matt; Kozak, Robert (21 August 2009). "In This Spat Between Bolivia and Peru, The Details Are in the Devils". The Wall Street Journal. p. A1. Retrieved 4 October 2009.

[18] "Memoria Chilena diabladas" (in Spanish).

[19] Américo Valencia Chacon (3 September 2015). "Candelaria una propuesta frente a una gran responsabilidad" (in Spanish).

[20] Luis Valverde Caldas. "La diablada como danza" (in Spanish).

[CuentasOrmacheaPP35-36-21] Cuentas Ormachea 1986, pp. 35–36, 45.

[Manzana-22] Morales Serruto, José (3 August 2009). "La diablada, manzana de la discordia en el altiplano [The ''Diablada'', the bone of contention in the Altiplano]" (Interview) (in Spanish). Puno, Peru: Correo. Retrieved 27 September 2009.^{[permanent dead link]}

[McFarrenChoqueGisbert-23] McFarren, Peter; Choque, Sixto; Gisbert, Teresa (2009) [1993]. McFarren, Peter (ed.). Máscaras de los Andes bolivianos [Masks of the Bolivian Andes] (in Spanish). Indiana, United States: Editorial Quipus. Retrieved 24 October 2009.

[24] "Municipio realiza actualización del avalúo para el bienio 2016-2017". Archived from the original on 2016-03-03. Retrieved 2010-02-19.

[RiusIMercade-25] Rius I Mercade 2005

[FortunP23-26] Fortún 1961, p. 23.

[27] Fortún 1961, p. 24.

[Garcilaso-28] De la Vega, Garcilaso; Serna, Mercedes (2000) [1617]. "XXVIII". Comentarios Reales [Royal Commentaries]. Clásicos Castalia (in Spanish). Vol. 252 (2000 ed.). Madrid, Spain: Editorial Castalia. pp. 226–227. ISBN 84-7039-855-5. OCLC 46420337.

[Nicomedes-29] Santa Cruz, 2004, p. 285.

[Salles-ReesePP166-167-30] Salles-Reese 1997, pp. 166-167.

[HarrisPP205-211-31] Harris 2003, pp. 205-211.

[Pre-ColumbianUrus3-32] "La diablada orureña se remonta a la época de los Urus precoloniales" [The Diablada of Oruro goes back to the times of the Pre-Columbian Urus]. La Razón (in Spanish). La Paz, Bolivia. 9 August 2009. Archived from the original on 13 August 2011. Retrieved 9 April 2010.

[CuentasOrmacheaPP35-362-33] Cuentas Ormachea 1986, pp. 35–36, 45.

[MemoriaChilena2-34] "El folclor de Chile y sus tres grandes raíces" [The Chile's folklore and its three great roots] (in Spanish). Memorias Chilenas. 2004. Archived from the original on 11 September 2008. Retrieved 9 December 2009.

[UNESCO3-35] "Bolivia (Plurinational State of) - Information related to Intangible Cultural Heritage". UNESCO. 2001. Retrieved 3 October 2009. The town of Oruro, situated at an altitude of 3,700 metres in the mountains of western Bolivia and once a pre-Columbian ceremonial site, was an important mining area in the nineteenth and twentieth centuries. Resettled by the Spanish in 1606, it continued to be a sacred site for the Uru people, who would often travel long distances to perform their rituals, especially for the principal Ito festival. The Spanish banned these ceremonies in the seventeenth century, but they continued under the guise of Christian liturgy: the Andean gods were concealed behind Christian icons and the Andean divinities became the Saints. The Ito festival was transformed into a Christian ritual, celebrated on Candlemas (2 February). The traditional llama llama or diablada in worship of the Uru god Tiw became the main dance at the Carnival of Oruro.

[CondorDeLosAndes2-36] "La Diablada De Oruro, máscara danza pagana" [The Diablada of Oruro, mask pagan dance] (in Spanish). 2009. Archived from the original on 14 July 2011. Retrieved 9 December 2009.

[FortunChoreograph-37] Fortún, Julia Elena (1961). "Actual coreografía del baile de los diablos" [Current choreography of the devils dance]. La danza de los diablos [The dance of the devils] (DOC). Autores bolivianos contemporáneos (in Spanish). Vol. 5. La Paz, Bolivia: Ministerio de Educación y Bellas Artes, Oficialía Mayor de Cultura Nacional. OCLC 3346627.

[38] Gisbert 2002, p. 9.

[CuentasOrmachea2009-39] Cuentas Ormachea, Enrique (23 August 2009). "Diablada: coreografía, vestimenta y música" [Diablada: choreography, clothing and music]. Los Andes (in Spanish). Puno, Peru. Retrieved 24 October 2009.

[JiménezBorja-40] Jiménez Borja, Arturo (1996). Fundación del Banco Continental para el Fomento de la Educación y la Cultura (ed.). Máscaras peruanas [Peruvian masks] (in Spanish). Lima, Peru. Retrieved 24 October 2009.{{cite book}}: CS1 maint: location missing publisher (link)

[MUSEF-41] Museo Nacional de Etnografía y Folklore (Bolivia) (2003). MUSEF (ed.). Serie anales de la reunión anual de etnología [Records of the annual reunion of ethnology series] (in Spanish). Vol. 2. La Paz, Bolivia: MUSEF. Retrieved 24 October 2009.

[NorthDancesCL-42] "Danzas ceremoniales del área cultural del Norte" [Ceremonial dances of the northern cultural area] (in Spanish). Chile: Hamaycan. Archived from the original on June 9, 2009. Retrieved 8 April 2010.

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@@ Line 1: / Line 1: @@
+{{Infobox dance
-{{merge from|Diablada (Bolivia)|discuss=Talk:Diablada#Merger proposal|date=August 2021}}
+| title       = Diablada
-{{Cleanup|date=June 2021|reason=Music genre infobox should not be used, as it's not a musical genre}}
+| name        =
+| image       = Carnaval de Oruro dia I (60).JPG
+| imagesize   =
+| alt         =
+| caption     = A Diablada dance squad passing through the streets during the [[Carnaval virgen de la candelaria in peru| Carnival]] and [[Bolivia]].
+| genre       = [[Folk dance]]
+| signature   =
+| inventor    = [[Pre-Columbian era|Pre-Columbian]] [[Andean bolivian, civilizations]]
+| year        = 1500s
+| origin      = [[Altiplano]] region, Bolivia, South America
+}}
-The '''Diablada''' or '''Danza de los Diablos''' ({{lang-en|Dance of the Devils}}), is an [[Andean civilizations|Andean]] dance performed in the [[Altiplano]] region, characterized by performers wearing masks and costumes representing the [[devil]].<ref>https://books.google.com/books?id=S2E3Q62l-lUC&pg=PA63&dq=Diablada+Danza+de+Diablos&hl=en&ei=tKWGTYqXAsOV0QHg2K3CCA&sa=X&oi=book_result&ct=result&resnum=3&ved=0CDoQ6AEwAg#v=onepage&q=Diablada%20Danza%20de%20Diablos&f=false Page 63</ref><ref name="DRAE">{{cite web |url=http://buscon.rae.es/draeI/SrvltConsulta?TIPO_BUS=3&LEMA=diablada |title=Diccionario de la Lengua Española&nbsp;– Vigésima segunda edición |author=Real Academia Española   |author-link=Real Academia Española |year= 2001 |location=Madrid, Spain |language=es |trans-title=Spanish Language Dictionary - 22nd edition |access-date=30 November 2009 |quote=''Danza típica de la región de Oruro, en Bolivia, llamada así por la careta y el traje de diablo que usan los bailarines'' (Typical dance from the region of [[Oruro Department|Oruro]], in [[Bolivia]], called that way by the mask and devil suit worn by the dancers).}}</ref> The dance is a mixture of religious theatrical presentations brought from [[Spain]] and [[Religion in the Inca Empire|Andean religious]] ceremonies such as the [[Llama llama]] dance in honour of the [[Uros|Uru]] god [[Tiw (god)|Tiw]],<ref name="UNESCO">{{cite web |url=http://www.unesco.org/culture/ich/index.php?lg=EN&cp=BO |title=Bolivia (Plurinational State of) - Information related to Intangible Cultural Heritage |year=2001 |publisher=[[UNESCO]]  |access-date=3 October 2009 |quote=The town of Oruro, situated at an altitude of 3,700 metres in the mountains of western Bolivia and once a pre-Columbian ceremonial site, was an important mining area in the nineteenth and twentieth centuries. Resettled by the Spanish in 1606, it continued to be a sacred site for the Uru people, who would often travel long distances to perform their rituals, especially for the principal Ito festival. The Spanish banned these ceremonies in the seventeenth century, but they continued under the guise of Christian liturgy: the Andean gods were concealed behind Christian icons and the Andean divinities became the Saints. The Ito festival was transformed into a Christian ritual, celebrated on Candlemas (2 February). The traditional llama llama or diablada in worship of the Uru god Tiw became the main dance at the Carnival of Oruro.}}</ref> and the [[Aymara people|Aymaran]] ritual to the demon [[Anchanchu]].<ref name="RubioZapata">{{cite journal |author=Rubio Zapata, Miguel |date=Fall 2007 |title=Diablos Danzantes en Puno, Perú |trans-title=Dancing devils in Puno, Peru |journal=ReVista, Harvard Review of Latin America |volume=VII |issue=1 |pages=66–67 |url=http://www.drclas.harvard.edu/revista/articles/view/1005 |language=es |access-date=24 October 2009 |url-status=dead |archive-url=https://web.archive.org/web/20090401071207/http://www.drclas.harvard.edu/revista/articles/view/1005 |archive-date=1 April 2009 }}</ref><ref name="Manzana2">{{cite interview|last=Morales Serruto|first=José|title=La diablada, manzana de la discordia en el altiplano <nowiki>[The ''Diablada'', the bone of contention in the Altiplano]</nowiki>|url=http://www.correoperu.com.pe/correo/nota.php?txtEdi_id=18&txtSecci_id=72&txtSecci_parent=&txtNota_id=106612|access-date=27 September 2009|publisher=[[Correo (Puno)|Correo]]|location=Puno, Peru|date=3 August 2009|language=es}}{{dead link|date=November 2017|bot=InternetArchiveBot|fix-attempted=yes}}</ref>
+The '''Diablada''', also known as the '''Danza de los Diablos''' ({{lang-en|Dance of the Devils}}), is an [[Andean civilizations|Andean]] [[folk dance]] performed in Bolivia the [[Altiplano]] region of South America, characterized by performers wearing masks and costumes representing the [[devil]] and other characters from [[Pre-Columbian era|pre-Columbian]] theology and mythology.<ref>{{cite book|url=https://books.google.com/books?id=S2E3Q62l-lUC&dq=Diablada+Danza+de+Diablos&pg=PA63|page=63|title=Music-cultures in Contact: Convergences and Collisions|isbn=9782884491372|last1=Kartomi|first1=Margaret J.|last2=Blum|first2=Stephen|year=1994}}</ref><ref name="DRAE">{{cite web |url=http://buscon.rae.es/draeI/SrvltConsulta?TIPO_BUS=3&LEMA=diablada |title=Diccionario de la Lengua Española&nbsp;– Vigésima segunda edición |author=Real Academia Española   |author-link=Real Academia Española |year= 2001 |location=Madrid, Spain |language=es |trans-title=Spanish Language Dictionary - 22nd edition |access-date=30 November 2009 |quote=''Danza típica de la región de Oruro, en Bolivia, llamada así por la careta y el traje de diablo que usan los bailarines'' (Typical dance from the region of [[Oruro Department|Oruro]], in [[Bolivia]], called that way by the mask and devil suit worn by the dancers).}}</ref> combined with Spanish and Christian elements added during the [[Spanish Empire|colonial era]]. Many scholars have concluded that the dance is descended from the [[Llama llama]] dance in honor of the [[Uros|Uru]] god [[Tiw (god)|Tiw]],<ref name="UNESCO">{{cite web |url=http://www.unesco.org/culture/ich/index.php?lg=EN&cp=BO |title=Bolivia (Plurinational State of) - Information related to Intangible Cultural Heritage |year=2001 |publisher=[[UNESCO]]  |access-date=3 October 2009 |quote=The town of Oruro, situated at an altitude of 3,700 metres in the mountains of western Bolivia and once a pre-Columbian ceremonial site, was an important mining area in the nineteenth and twentieth centuries. Resettled by the Spanish in 1606, it continued to be a sacred site for the Uru people, who would often travel long distances to perform their rituals, especially for the principal Ito festival. The Spanish banned these ceremonies in the seventeenth century, but they continued under the guise of Christian liturgy: the Andean gods were concealed behind Christian icons and the Andean divinities became the Saints. The Ito festival was transformed into a Christian ritual, celebrated on Candlemas (2 February). The traditional llama llama or diablada in worship of the Uru god Tiw became the main dance at the Carnival of Oruro.}}</ref> and the [[Aymara people|Aymaran]] ritual to the demon [[Anchanchu]], both originating in pre-Columbian [[Bolivia]]<ref name="RubioZapata">{{cite journal |author=Rubio Zapata, Miguel |date=Fall 2007 |title=Diablos Danzantes en Puno, Perú |trans-title=Dancing devils in Puno, Peru |journal=ReVista, Harvard Review of Latin America |volume=VII |issue=1 |pages=66–67 |url=http://www.drclas.harvard.edu/revista/articles/view/1005 |language=es |access-date=24 October 2009 |archive-url=https://web.archive.org/web/20090401071207/http://www.drclas.harvard.edu/revista/articles/view/1005 |archive-date=1 April 2009 }}</ref><ref name="Manzana2">{{cite interview|last=Morales Serruto|first=José|title=La diablada, manzana de la discordia en el altiplano <nowiki>[The ''Diablada'', the bone of contention in the Altiplano]</nowiki>|url=http://www.correoperu.com.pe/correo/nota.php?txtEdi_id=18&txtSecci_id=72&txtSecci_parent=&txtNota_id=106612|access-date=27 September 2009|publisher=[[Correo (Puno)|Correo]]|location=Puno, Peru|date=3 August 2009|language=es}}{{dead link|date=November 2017|bot=InternetArchiveBot|fix-attempted=yes}}</ref>
+While the dance had been performed in the Andean region as early as the 1500s, its name originated in 1789 in [[Oruro, Bolivia]], where performers dressed like the devil in parades called ''Diabladas.'' The first organized Diablada group with defined music and choreography appeared in Bolivia in 1904.<ref name="DRAE" /><ref>http://www.carnavaldeoruroacfo.com/documentos/FORMULARIO%20DE%20CANDIDATURA.pdf {{Webarchive|url=https://web.archive.org/web/20091104051802/http://www.carnavaldeoruroacfo.com/documentos/FORMULARIO%20DE%20CANDIDATURA.pdf|date=2009-11-04}} Compilation of historians, anthropologists, researchers and folklorists about the Carnival of Oruro and La Diablada</ref> There is also some evidence of the dance originating among miners in [[Potosí|Potosi, Bolivia]],<ref name="ArancibiaAndrade">{{cite interview |last=Arancibia Andrade |first=Freddy |title=Investigador afirma que la diablada surgió en Potosí <nowiki>[Investigator affirms that the ''Diablada'' emerged in Potosí]</nowiki> |url=http://www.la-razon.com/versiones/20090820_006825/nota_253_864270.htm |language=es |location=La Paz, Bolivia |date=20 August 2009 |access-date=2 October 2009 |archive-url=https://web.archive.org/web/20090904134937/http://www.la-razon.com/versiones/20090820_006825/nota_253_864270.htm |archive-date=4 September 2009 }}</ref> while regional dances in Peru and Chile may have also influenced the modern version.
-==History==
-While the dance had been performed in the Andean region as early as the 1500s, its name originated in 1789 in [[Oruro, Bolivia|Orouro, Bolivia]], where performers dressed like the devil in parades were called ''Diabladas.'' The first organized Diablada group with defined music and choreography appeared in 1904.<ref name="DRAE" /><ref>http://www.carnavaldeoruroacfo.com/documentos/FORMULARIO%20DE%20CANDIDATURA.pdf {{Webarchive|url=https://web.archive.org/web/20091104051802/http://www.carnavaldeoruroacfo.com/documentos/FORMULARIO%20DE%20CANDIDATURA.pdf|date=2009-11-04}} Compilation of historians, anthropologists, researchers and folklorists about the Carnival of Oruro and La Diablada</ref> There is also some evidence of the dance originating among miners in [[Potosí|Potosi, Bolivia]].<ref name="ArancibiaAndrade">{{cite interview |last=Arancibia Andrade |first=Freddy |title=Investigador afirma que la diablada surgió en Potosí <nowiki>[Investigator affirms that the ''Diablada'' emerged in Potosí]</nowiki> |url=http://www.la-razon.com/versiones/20090820_006825/nota_253_864270.htm |language=es |location=La Paz, Bolivia |date=20 August 2009 |access-date=2 October 2009 |url-status=dead |archive-url=https://web.archive.org/web/20090904134937/http://www.la-razon.com/versiones/20090820_006825/nota_253_864270.htm |archive-date=4 September 2009 }}</ref> [[File:Fiesta de los Collasuyos.jpg|thumb|alt=Ancient drawing of the ''Collasuyus''.|Depiction of a [[Collasuyu]] party in the 17th century book ''[[Primer Nueva Corónica y Buen Gobierno]]'' of [[Felipe Guamán Poma de Ayala]].]]
+==History==
 === Pre-Columbian origins ===
+[[File:Fiesta de los Collasuyos.jpg|thumb|alt=Ancient drawing of the ''Collasuyus''.|Depiction of a [[Collasuyu]] party in the 17th century book ''[[Primer Nueva Corónica y Buen Gobierno]]'' of [[Felipe Guamán Poma de Ayala]].]]
-Bolivia claims to have originated the dance and claims that Oruro should be named as its place of origin under [[Masterpieces of the Oral and Intangible Heritage of Humanity]] policy promoted by [[UNESCO]]; Bolivia has also claimed that performances of the dance in other countries is a form of [[cultural appropriation]].<ref name="LaPrensa1408092">{{cite news|date=14 August 2009|title=Perú dice que la diablada no es exclusiva de Bolivia|language=es|trans-title=Peru says that the ''Diablada'' is not exclusive of Bolivia|newspaper=[[La Prensa (La Paz)|La Prensa]]|publisher=Editores Asociados S.A.|location=La Paz, Bolivia|url=http://www.laprensa.com.bo/noticias/14-08-09/noticias.php?nota=14_08_09_alfi5.php|access-date=10 December 2009}} {{Dead link|date=October 2010|bot=H3llBot}}</ref><ref name="DiablosDiabladas2">[[Diablada#refDiablosDiabladas|Echevers Tórrez 2009]]</ref> Bolivian historians currently maintain that the Diablada dates back 2000 years to the rituals of the [[Uros|Uru civilization]] dedicated to [[Tiw (god)|Tiw]], who protected caves, lakes, and rivers as places of shelter. The dance is believed to have originated as the ''[[Llama llama]]'' in the ancient settlement of Oruro, which was one of the major centers of the Uru civilization.<ref name="UNESCOformPP10-17" /><ref>[[Diablada#refGuamanPoma1615|Guaman Poma de Ayala 1615]], p.235.</ref>
+Bolivian historians claim that the Diablada originated in that country, and that Oruro should be named as its place of origin under the [[Masterpieces of the Oral and Intangible Heritage of Humanity]] policy promoted by [[UNESCO]]; Bolivia has also claimed that performances of the dance in other countries are [[cultural appropriation]].<ref name="LaPrensa1408092">{{cite news|date=14 August 2009|title=Perú dice que la diablada no es exclusiva de Bolivia|language=es|trans-title=Peru says that the ''Diablada'' is not exclusive of Bolivia|newspaper=[[La Prensa (La Paz)|La Prensa]]|publisher=Editores Asociados S.A.|location=La Paz, Bolivia|url=http://www.laprensa.com.bo/noticias/14-08-09/noticias.php?nota=14_08_09_alfi5.php|access-date=10 December 2009}} {{Dead link|date=October 2010|bot=H3llBot}}</ref><ref name="DiablosDiabladas2">[[Diablada#refDiablosDiabladas|Echevers Tórrez 2009]]</ref> Bolivian historians currently maintain that the Diablada dates back 2000 years to the rituals of the [[Uros|Uru civilization]] dedicated to the mythological figure [[Tiw (god)|Tiw]], who protected caves, lakes, and rivers as places of shelter. The dance is believed to have originated as the ''[[Llama llama]]'' in the ancient settlement of Oruro, which was one of the major centers of the Uru civilization.<ref name="UNESCOformPP10-17" /><ref>[[Diablada#refGuamanPoma1615|Guaman Poma de Ayala 1615]], p.235.</ref> The dance includes references to animals that appear in Uru mythology such as ants, lizards, toads, and snakes.<ref name="MineTiw2">{{cite web|author=Claure Covarrubias, Javier|date=January 2009|title=El Tío de la mina|trans-title=The Uncle of the mine|url=http://www.islabahia.com/arenaycal/2009/156_enero/javier_claure_156.asp|access-date=13 January 2010|publisher=Arena y Cal, revista literaria y cultural divulgativa|location=Stockholm, Sweden|language=es}}</ref><ref name="UruMyth2">{{cite web|author=Ríos, Edwin|year=2009|title=Mitología andina de los urus|trans-title=Andean mythology of the Urus|url=http://www.micarnaval.net/mitologia.htm|archive-url=https://web.archive.org/web/20091224155130/http://www.micarnaval.net/mitologia.htm|archive-date=24 December 2009|access-date=13 January 2010|website=Mi Carnaval |language=es}}</ref><ref name="DiabladaOrigOruro2">{{cite web|author=Ríos, Edwin|year=2009|title=La Diablada originada en Oruro&nbsp;– Bolivia|trans-title=The ''Diablada'' originated in Oruro&nbsp;– Bolivia|url=http://www.micarnaval.net/origen_diablada.htm|archive-url=https://web.archive.org/web/20090815145701/http://www.micarnaval.net/origen_diablada.htm|archive-date=15 August 2009|access-date=13 January 2010|website=Mi Carnaval |language=es}}</ref> Bolivian anthropologist Milton Eyzaguirre adds that the ancient cultures of the Bolivian Andes practiced a death cult called ''cupay'', with that term eventually evolving into ''supay'' or the devil figure in the modern Diablada.<ref name="Pre-ColumbianUrus2">{{cite news|date=9 August 2009|title=La diablada orureña se remonta a la época de los Urus precoloniales|language=es|trans-title=The ''Diablada'' of Oruro goes back to the times of the Pre-Columbian Urus|newspaper=[[La Razón (La Paz)|La Razón]]|location=La Paz, Bolivia|url=http://co.wradiofm.com/nota.aspx?id=858474|access-date=9 April 2010|archive-url=https://web.archive.org/web/20110813192031/http://co.wradiofm.com/nota.aspx?id=858474|archive-date=13 August 2011|df=dmy-all}}</ref>
-Due to [[syncretism]] caused by Spanish influence in later centuries, Tiw was eventually associated with the devil; Spanish autorities also outlawed several of the ancient traditions but incorporated others into Christian theology. <ref>[[#refUNESCOform|A.C.F, O. 2001]], p.3.</ref> The dance includes references to animals that appear in Uru mythology such as ants, lizards, toads, and snakes.<ref name="MineTiw2">{{cite web|author=Claure Covarrubias, Javier|date=January 2009|title=El Tío de la mina|trans-title=The Uncle of the mine|url=http://www.islabahia.com/arenaycal/2009/156_enero/javier_claure_156.asp|access-date=13 January 2010|publisher=Arena y Cal, revista literaria y cultural divulgativa|location=Stockholm, Sweden|language=es}}</ref><ref name="UruMyth2">{{cite web|author=Ríos, Edwin|year=2009|title=Mitología andina de los urus|trans-title=Andean mythology of the Urus|url=http://www.micarnaval.net/mitologia.htm|url-status=dead|archive-url=https://web.archive.org/web/20091224155130/http://www.micarnaval.net/mitologia.htm|archive-date=24 December 2009|access-date=13 January 2010|publisher=[http://www.micarnaval.net MiCarnaval.net]|location=Oruro, Bolivia|language=es}}</ref><ref name="DiabladaOrigOruro2">{{cite web|author=Ríos, Edwin|year=2009|title=La Diablada originada en Oruro&nbsp;– Bolivia|trans-title=The ''Diablada'' originated in Oruro&nbsp;– Bolivia|url=http://www.micarnaval.net/origen_diablada.htm|url-status=dead|archive-url=https://web.archive.org/web/20090815145701/http://www.micarnaval.net/origen_diablada.htm|archive-date=15 August 2009|access-date=13 January 2010|publisher=[http://www.micarnaval.net MiCarnaval.net]|location=Oruro, Bolivia|language=es}}</ref> Local and regional Diablada festivals arose during the [[Spanish Empire|Spanish colonial period]] and were eventually consolidated as the Carnaval of Oruro in the [[Oruro, Bolivia|modern city]] of that name.<ref name="UNESCOformPP10-17">[[#refUNESCOform|A.C.F, O. 2001]], pp.10-17.</ref> {{cquote|...//...The Spanish banned these ceremonies in the seventeenth century, but they continued under the guise of Christian liturgy: the Andean gods were concealed behind Christian icons and the Andean divinities became the Saints. The Ito festival was transformed into a Christian ritual, celebrated on Candlemas (2 February). The traditional '''llama llama''' or '''diablada''' in worship of the Uru god Tiw became the main dance at the Carnival of Oruro.//...
+Due to [[syncretism]] caused by Spanish influence in later centuries, Tiw was eventually associated with the devil; Spanish authorities also outlawed several of the ancient traditions but incorporated others into Christian theology.<ref>[[#refUNESCOform|A.C.F, O. 2001]], p.3.</ref> Local and regional Diablada festivals arose during the [[Spanish Empire|Spanish colonial period]] and were eventually consolidated as the [[Carnaval de Oruro]] in the [[Oruro, Bolivia|modern city]] of that name.<ref name="UNESCOformPP10-17">[[#refUNESCOform|A.C.F, O. 2001]], pp.10-17.</ref>
-| 4 = Proclamation of "Masterpiece of Oral and Intangible Heritage of Humanity" to the "Carnival of Oruro", UNESCO 2001
-}}Chilean and Peruvian organizations suggest that since the dance is inspired in the Andean civilizations previous to the formation of the current national borders, it should belong equally to the three nations.<ref name="WLSspat">{{cite news|author=Moffett, Matt|author2=Kozak, Robert|date=21 August 2009|title=In This Spat Between Bolivia and Peru, The Details Are in the Devils|page=A1|newspaper=[[The Wall Street Journal]]|url=https://www.wsj.com/articles/SB125081309502848049|authorlink2=Robert Kozak|accessdate=4 October 2009}}</ref> Some Chilean historians concede that the Diablada originated in Bolivia and was adopted for Chile's [[Fiesta de La Tirana]] in 1952, though it is influenced by a similar 16th Century Chilean tradition called ''diablos sueltos''.<ref>{{cite web|title=Memoria Chilena diabladas|url=http://www.memoriachilena.gob.cl/602/w3-article-92445.html|language=es}}</ref>
+{{cquote|...The Spanish banned these ceremonies in the seventeenth century, but they continued under the guise of Christian liturgy: the Andean gods were concealed behind Christian icons and the Andean divinities became the Saints. The Ito festival was transformed into a Christian ritual, celebrated on Candlemas (2 February). The traditional '''llama llama''' or '''diablada''' in worship of the Uru god Tiw became the main dance at the Carnival of Oruro....| 4 = Proclamation of "Masterpiece of Oral and Intangible Heritage of Humanity" to the "Carnival of Oruro", UNESCO 2001}}
-Some Peruvian historians also concede that the dance originated in Bolivia but was influenced by earlier traditions practiced across the Altiplano region, including some specific to Peru.<ref>{{cite web|url=https://issuu.com/avalenciach/docs/avach_articulo_candelaria_unesco|title=Candelaria una propuesta frente a una gran responsabilidad|author=Américo Valencia Chacon|language=es}}</ref><ref>{{cite web|title=La diablada como danza|url=https://es.scribd.com/document/474704564/LA-DIABLADA-COMO-DANZA|author=Luis Valverde Caldas|language=es}}</ref> The Peruvian version, ''diablada puneña'', originated in the late 1500s among [[Society of Jesus|Jesuits]] and the Lupaka people in the [[Puno Province|Puno]] region, and merged with the Bolivian version in the early 1900s.<ref name="CuentasOrmacheaPP35-36">[[Diablada#refCuentasOrmachea1986|Cuentas Ormachea 1986]], pp. 35–36, 45.</ref><ref name="Manzana">{{cite interview |last=Morales Serruto |first=José |title=La diablada, manzana de la discordia en el altiplano <nowiki>[The ''Diablada'', the bone of contention in the Altiplano]</nowiki> |url=http://www.correoperu.com.pe/correo/nota.php?txtEdi_id=18&txtSecci_id=72&txtSecci_parent=&txtNota_id=106612 |language=es |publisher=[[Correo (Puno)|Correo]] |location=Puno, Peru |date=3 August 2009 |access-date=27 September 2009 }}{{dead link|date=September 2017 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> Scholars who defend the Diablada's origins in Peru cite [[Aymara people|Aymara]]n traditions surrounding the deity [[Anchanchu]] that had been documented by 16th Century historian [[Inca Garcilaso de la Vega]].<ref name="RubioZapata" /><ref name="McFarrenChoqueGisbert">{{cite book |author1=McFarren, Peter   |author2=Choque, Sixto |author3=Gisbert, Teresa |editor1-first=Peter |editor1-last=McFarren |title=Máscaras de los Andes bolivianos |trans-title=Masks of the Bolivian Andes |url=https://books.google.com/books?id=s3LOnU0zgugC |access-date=24 October 2009 |year=2009 |orig-year=1993 |publisher=Editorial Quipus |location=Indiana, United States |language=es}}</ref>
+Chilean and Peruvian organizations suggest that since the dance has roots in Andean civilizations that existed before the formation of the current national borders, it should belong equally to the three nations.<ref name="WLSspat">{{cite news|author=Moffett, Matt|author2=Kozak, Robert|date=21 August 2009|title=In This Spat Between Bolivia and Peru, The Details Are in the Devils|page=A1|newspaper=[[The Wall Street Journal]]|url=https://www.wsj.com/articles/SB125081309502848049|author-link2=Robert Kozak|access-date=4 October 2009}}</ref> Some Chilean historians concede that the Diablada originated in Bolivia and was adopted for Chile's [[Fiesta de La Tirana]] in 1952, though it is also influenced by a similar 16th Century Chilean tradition called ''Diablos sueltos''.<ref>{{cite web|title=Memoria Chilena diabladas|url=http://www.memoriachilena.gob.cl/602/w3-article-92445.html|language=es}}</ref>
+Some Peruvian historians also concede that the dance originated in Bolivia but was influenced by earlier traditions practiced across the Altiplano region, including some specific to Peru.<ref>{{cite web|url=https://issuu.com/avalenciach/docs/avach_articulo_candelaria_unesco|title=Candelaria una propuesta frente a una gran responsabilidad|author=Américo Valencia Chacon|date=3 September 2015 |language=es}}</ref><ref>{{cite web|title=La diablada como danza|url=https://es.scribd.com/document/474704564/LA-DIABLADA-COMO-DANZA|author=Luis Valverde Caldas|language=es}}</ref> The Peruvian version, ''Diablada puneña'', originated in the late 1500s among the [[Lupaca|Lupaka]] people in the [[Puno Province|Puno]] region, who in turn were influenced by the [[Society of Jesus|Jesuits]]; with that dance merging with the Bolivian version in the early 1900s.<ref name="CuentasOrmacheaPP35-36">[[Diablada#refCuentasOrmachea1986|Cuentas Ormachea 1986]], pp. 35–36, 45.</ref><ref name="Manzana">{{cite interview |last=Morales Serruto |first=José |title=La diablada, manzana de la discordia en el altiplano <nowiki>[The ''Diablada'', the bone of contention in the Altiplano]</nowiki> |url=http://www.correoperu.com.pe/correo/nota.php?txtEdi_id=18&txtSecci_id=72&txtSecci_parent=&txtNota_id=106612 |language=es |publisher=[[Correo (Puno)|Correo]] |location=Puno, Peru |date=3 August 2009 |access-date=27 September 2009 }}{{dead link|date=September 2017 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> Scholars who defend the Diablada's origins in Peru cite [[Aymara people|Aymara]]n traditions surrounding the deity [[Anchanchu]] that had been documented by 16th Century historian [[Inca Garcilaso de la Vega]].<ref name="RubioZapata" /><ref name="McFarrenChoqueGisbert">{{cite book |author1=McFarren, Peter   |author2=Choque, Sixto |author3=Gisbert, Teresa |editor1-first=Peter |editor1-last=McFarren |title=Máscaras de los Andes bolivianos |trans-title=Masks of the Bolivian Andes |url=https://books.google.com/books?id=s3LOnU0zgugC |access-date=24 October 2009 |year=2009 |orig-date=1993 |publisher=Editorial Quipus |location=Indiana, United States |language=es}}</ref> There is also a version of the Diablada in Ecuador called the ''Diablada pillareña''.<ref>{{Cite web |url=http://www.diariolosandes.com.ec/index2.php?option=com_content&do_pdf=1&id=10219 |title=Municipio realiza actualización del avalúo para el bienio 2016-2017 |access-date=2010-02-19 |archive-url=https://web.archive.org/web/20160303170023/http://www.diariolosandes.com.ec/index2.php?option=com_content&do_pdf=1&id=10219 |archive-date=2016-03-03 }}</ref>
 ===Spanish influence===
-[[File:Diablada autentica oruro.jpg|thumb|"'''Struggle of the Diablada'''" as performed during the [[Carnival of Oruro]].]]
+[[File:Diablada autentica oruro.jpg|thumb|"Struggle of the Diablada" as performed during the [[Carnival of Oruro]].]]
-Some historians have theorized that the modern Diablada exhibits influences from Spanish dance traditions. In her book ''La danza de los diablos'', [[Julia Elena Fortún]] proposed a connection with the [[Catalonia|Catalan]] dance ''[[Ball de diables]]'' as performed in the Catalonian communities of [[Penedès]] and [[Tarragona]].<ref name="FortunP23">[[Diablada#refFortun1961|Fortún 1961]], p. 23.</ref><ref name="RiusIMercade">[[Diablada#refRiusIMercade|Rius I Mercade 2005]]</ref> Historians have also proposed connections with the Catalonian [[entremés]] called ''Ball de diables,'' depicting a struggle between [[Lucifer]] and the [[Michael (archangel)|archangel Saint Michael]] that is first known to have been performed in 1150.<ref name="RiusIMercade" /> Catalan scholar Jordi Rius i Mercade has also found similarities between the ''Ball de diables'' and several Andean dances including the similarly-themed ''Baile de Diablos de Cobán'' in [[Guatemala]] and ''Danza de los diablicos de Túcume'' in [[Peru]].<ref name="RiusIMercade" />
+Some historians have theorized that the modern Diablada exhibits influences from Spanish dance traditions. In her book ''La danza de los diablos'', [[Julia Elena Fortún]] proposed a connection with the [[Catalonia|Catalan]] [[entremés]] called ''[[Ball de diables]]'' as performed in the Catalonian communities of [[Penedès]] and [[Tarragona]]. That dance depicts a struggle between [[Lucifer]] and the [[Michael (archangel)|archangel Saint Michael]] and is first known to have been performed in 1150.<ref name="RiusIMercade">[[Diablada#refRiusIMercade|Rius I Mercade 2005]]</ref><ref name="FortunP23">[[Diablada#refFortun1961|Fortún 1961]], p. 23.</ref> Catalan scholar Jordi Rius i Mercade has also found similarities between the ''Ball de diables'' and several Andean dances including the similarly-themed ''Baile de Diablos de Cobán'' in Guatemala and ''Danza de los diablicos de Túcume'' in Peru.<ref name="RiusIMercade" />
-Those theories contradict the more common theory that the modern Diablada is most influenced by the Spanish practice of [[autos sacramentales]] during which the colonizers introduced Christianity to the natives of the Andes, due to differing conceptions of the devil and his temptations.<ref>[[#refFortun1961|Fortún 1961]], p. 24.</ref> However, the [[autos sacramentales]] process has been cited as an influence on the emergence of the ''diablada puneña'' in Peru, shortly after the [[Spanish conquest of the Inca Empire]], as believed by Garcilaso de la Vega.<ref name="Garcilaso">{{cite book|author=De la Vega, Garcilaso|url=https://books.google.com/books?id=hro5nwgWxvoC&q=suli|title=Comentarios Reales|author2=Serna, Mercedes|publisher=Editorial Castalia|year=2000|isbn=84-7039-855-5|edition=2000|series=Clásicos Castalia|volume=252|location=Madrid, Spain|pages=226–227|language=es|trans-title=Royal Commentaries|chapter=XXVIII|oclc=46420337|author-link=Inca Garcilaso de la Vega|orig-year=1617|chapter-url=https://books.google.com/books?id=hro5nwgWxvoC&pg=PA224}}</ref> Peruvian scholar [[Nicomedes Santa Cruz]] and Bolivian anthropologist Freddy Arancibia Andrade have suggested a similar process, with the dance originating among miners who rebelled against the Spanish at Potosi in 1538, while combining the ancient ritual of [[Tinku]] with Christian references.<ref name="ArancibiaAndrade">{{cite interview |last=Arancibia Andrade |first=Freddy |title=Investigador afirma que la diablada surgió en Potosí <nowiki>[Investigator affirms that the ''Diablada'' emerged in Potosí]</nowiki> |url=http://www.la-razon.com/versiones/20090820_006825/nota_253_864270.htm |language=es |location=La Paz, Bolivia |date=20 August 2009 |access-date=2 October 2009 |url-status=dead |archive-url=https://web.archive.org/web/20090904134937/http://www.la-razon.com/versiones/20090820_006825/nota_253_864270.htm |archive-date=4 September 2009 }}</ref><ref name="Nicomedes">[[#refSantaCruz2004|Santa Cruz, 2004]], p. 285.</ref> Andrade has also proposed a similar process among striking miners in 1904 as the origin of the modern version of the Diablada.<ref name="ArancibiaAndrade" />
+Those theories contradict the more common theory that the modern Diablada is most influenced by the Spanish practice of [[autos sacramentales]] during which the colonizers introduced Christianity to the natives of the Andes, due to differing conceptions of the devil and his temptations.<ref>[[#refFortun1961|Fortún 1961]], p. 24.</ref> The [[autos sacramentales]] process has been cited as an influence on the emergence of the ''Diablada puneña'' in Peru, shortly after the [[Spanish conquest of the Inca Empire]], as believed by Garcilaso de la Vega.<ref name="Garcilaso">{{cite book|author=De la Vega, Garcilaso|url=https://books.google.com/books?id=hro5nwgWxvoC&q=suli|title=Comentarios Reales|author2=Serna, Mercedes|publisher=Editorial Castalia|year=2000|isbn=84-7039-855-5|edition=2000|series=Clásicos Castalia|volume=252|location=Madrid, Spain|pages=226–227|language=es|trans-title=Royal Commentaries|chapter=XXVIII|oclc=46420337|author-link=Inca Garcilaso de la Vega|orig-date=1617|chapter-url=https://books.google.com/books?id=hro5nwgWxvoC&pg=PA224}}</ref> Peruvian scholar [[Nicomedes Santa Cruz]] and Bolivian anthropologist Freddy Arancibia Andrade have suggested a similar process, with the dance originating among miners who rebelled against the Spanish at Potosi in 1538 while combining the ancient ritual of [[Tinku]] with Christian references.<ref name="ArancibiaAndrade">{{cite interview |last=Arancibia Andrade |first=Freddy |title=Investigador afirma que la diablada surgió en Potosí <nowiki>[Investigator affirms that the ''Diablada'' emerged in Potosí]</nowiki> |url=http://www.la-razon.com/versiones/20090820_006825/nota_253_864270.htm |language=es |location=La Paz, Bolivia |date=20 August 2009 |access-date=2 October 2009 |archive-url=https://web.archive.org/web/20090904134937/http://www.la-razon.com/versiones/20090820_006825/nota_253_864270.htm |archive-date=4 September 2009 }}</ref><ref name="Nicomedes">[[#refSantaCruz2004|Santa Cruz, 2004]], p. 285.</ref> Andrade has also proposed a similar process among striking miners in 1904 as the origin of the modern version of the Diablada.<ref name="ArancibiaAndrade" />
 === Post-independence period ===
-While the traditions of the Diablada were merged with Christianity during the colonial period, the meanings of the original traditions were revived and reassessed during the [[Latin American wars of independence]]. The Altiplano region, particularly around [[Lake Titicaca]], became a center of appreciation for pre-Columbian dance and music.<ref name="Salles-ReesePP166-167">[[Diablada#refSalles-Reese|Salles-Reese 1997]], pp. 166-167.</ref> During the [[Bolivian War of Independence]], the main religious festival honoring the [[Virgin of Candelaria|Virgin of the Candlemas]] was replaced by [[Carnival]], whc=ich allowed for greater acknowledgement of pre-Christian traditions including the Diablada. The present annual festival was established in Oruro by 1891.<ref name="HarrisPP205-211">[[#refHarris2003|Harris 2003]], pp. 205-211.</ref>
+Though the traditions of the Diablada were merged with Christianity during the colonial period, the meanings of the original traditions were revived and reassessed during the [[Spanish American wars of independence|Latin American wars of independence]]. The Altiplano region, particularly around [[Lake Titicaca]], became a center of appreciation for pre-Columbian dance and music.<ref name="Salles-ReesePP166-167">[[Diablada#refSalles-Reese|Salles-Reese 1997]], pp. 166-167.</ref> During the [[Bolivian War of Independence]], the main religious festival honoring the [[Virgin of Candelaria|Virgin of the Candlemas]] was replaced by [[Carnival]], which allowed for greater acknowledgement of pre-Christian traditions including the Diablada. The present annual Diablada festival was established in Oruro by 1891.<ref name="HarrisPP205-211">[[#refHarris2003|Harris 2003]], pp. 205-211.</ref>
+The first institutionalized Diablada dance squad was the Gran Tradicional y Auténtica Diablada Oruro, founded in Bolivia in 1904 by Pedro Pablo Corrales.<ref name="Pre-ColumbianUrus3">{{cite news|date=9 August 2009|title=La diablada orureña se remonta a la época de los Urus precoloniales|language=es|trans-title=The ''Diablada'' of Oruro goes back to the times of the Pre-Columbian Urus|newspaper=[[La Razón (La Paz)|La Razón]]|location=La Paz, Bolivia|url=http://co.wradiofm.com/nota.aspx?id=858474|access-date=9 April 2010|archive-url=https://web.archive.org/web/20110813192031/http://co.wradiofm.com/nota.aspx?id=858474|archive-date=13 August 2011|df=dmy-all}}</ref> That squad established a counterpart called the Los Vaporinos in Peru in 1918.<ref name="CuentasOrmacheaPP35-362">[[Diablada#refCuentasOrmachea1986|Cuentas Ormachea 1986]], pp. 35–36, 45.</ref> A squad from Bolivia was invited to travel to the [[Fiesta de La Tirana|Fiesta de la Tirana]] in Chile in 1956, and that country's first established squad was called Primera Diablada Servidores Virgen del Carmen, centered in [[Iquique]].<ref name="MemoriaChilena2">{{cite web|year=2004|title=El folclor de Chile y sus tres grandes raíces|trans-title=The Chile's folklore and its three great roots|url=http://www.memoriachilena.cl/temas/dest.asp?id=folclor3diablada|archive-url=https://web.archive.org/web/20080911231311/http://www.memoriachilena.cl/temas/dest.asp?id=folclor3diablada|archive-date=11 September 2008|access-date=9 December 2009|publisher=Memorias Chilenas|language=es|df=dmy-all}}</ref> In 2001, the [[Carnaval de Oruro]] was declared one of the [[Masterpieces of the Oral and Intangible Heritage of Humanity]], along with the Diablada and 19 other dances performed at the festival.<ref name="UNESCO3">{{cite web|year=2001|title=Bolivia (Plurinational State of) - Information related to Intangible Cultural Heritage|url=http://www.unesco.org/culture/ich/index.php?lg=EN&cp=BO|access-date=3 October 2009|publisher=[[UNESCO]]|quote=The town of Oruro, situated at an altitude of 3,700 metres in the mountains of western Bolivia and once a pre-Columbian ceremonial site, was an important mining area in the nineteenth and twentieth centuries. Resettled by the Spanish in 1606, it continued to be a sacred site for the Uru people, who would often travel long distances to perform their rituals, especially for the principal Ito festival. The Spanish banned these ceremonies in the seventeenth century, but they continued under the guise of Christian liturgy: the Andean gods were concealed behind Christian icons and the Andean divinities became the Saints. The Ito festival was transformed into a Christian ritual, celebrated on Candlemas (2 February). The traditional llama llama or diablada in worship of the Uru god Tiw became the main dance at the Carnival of Oruro.}}</ref> In 2004, the Bolivian government awarded high national honors to the Gran Tradicional y Auténtica Diablada Oruro for its 100th anniversary.<ref name="CondorDeLosAndes2">{{cite web|year=2009|title=La Diablada De Oruro, máscara danza pagana|trans-title=The ''Diablada'' of Oruro, mask pagan dance|url=http://ecuador.macroclasificado.com/clasificado/698500.html|archive-url=https://web.archive.org/web/20110714013140/http://ecuador.macroclasificado.com/clasificado/698500.html|archive-date=14 July 2011|access-date=9 December 2009|language=es|df=dmy-all}}</ref>
 ==Choreography==
-In its original form, the dance was performed to accompany a band of ''[[Sikuri]]s'', which were a group of musicians playing the ''[[Siku (panpipe)|Siku]]''. Nowadays, the ''Diablada'' in the Altiplano is accompanied by band and orchestra. The uniformity of the suits brought choreographic innovation, with the layout of steps, movements, and figure designs that are not only ready to be staged in open areas such as roads, streets, and public squares; but also in places such as theaters and [[arena]]s. At the start of the [[krewe]] are Lucifer and Satan with several ''China Supay'', or devil women. They are followed by the personified [[seven deadly sins]] of pride, greed, lust, anger, gluttony, envy, and sloth. Afterwards, a troop of devils come out. They are all led by [[Saint Michael]], with a blouse, short skirt, sword, and shield.[[File:Oruro carnival artifacts.jpg|thumb|left|alt=Three Diablada masks.|Different models of ''Diablada'' masks in an exhibition in the [[British Museum]].]]During the dance, [[angel]]s and [[demon]]s are constantly moving around while forming somewhat complex figures such as crosses and circles. This confrontation between the two sides is eclipsed when [[Saint Michael]] appears, battles, and defeats [[the Devil]]. Both characters are dressed in heavy costumes that are highly ornate and finely wrought. The weight of the costume is more of a challenge than an obstacle for the different dance groups. The dancers often attempt to make unique and complex choreographies. The result is a colourful dance, creating a show very much appreciated by the public.
-The choreography have three versions, each conformed by seven moves.<ref name="FortunChoreograph">{{cite book |author=Fortún, Julia Elena   |author-link=Julia Elena Fortún |title=La danza de los diablos |trans-title=The dance of the devils |url=https://books.google.com/books?id=lcVYAAAAMAAJ&q=La+danza+de+los+diablos+%3A+danzas+populares+bolivianas |trans-chapter=Current choreography of the devils dance |chapter=Actual coreografía del baile de los diablos |chapter-url=http://ww2.atlasdeladiversidad.net/docs/escuelas/escuela322/gruposclase/grupoclase830/retratos/retrato13056/actual_coreografia_de_la_diablada.doc |format=DOC |series=Autores bolivianos contemporáneos |volume=5 |year=1961 |publisher=Ministerio de Educación y Bellas Artes, Oficialía Mayor de Cultura Nacional |location=La Paz, Bolivia |language=es |oclc=3346627}}</ref>
-===First version===
 [[File:Trajesdeluces207.jpg|231px|thumb|right|Diablada dancers in Puno, Peru.]]
+In its original form, the dance was performed with music by a band of Sikuris, who played the [[Siku (instrument)|siku]]. In modern times the dance is accompanied by an orchestra. Dancers often perform on streets and public squares, but the ritual can also be performed at indoor theaters and arenas. The ritual begins with a [[krewe]] featuring Lucifer and Satan with several ''China Supay'', or devil women. They are followed by the personified [[seven deadly sins]] of pride, greed, lust, anger, gluttony, envy, and sloth. Afterwards, a troop of devils come out. They are all led by [[Saint Michael]], with a blouse, short skirt, sword, and shield. During the dance, [[angel]]s and [[demon]]s move continuously. This confrontation between the two sides is eclipsed when [[Saint Michael]] appears and defeats the Devil. The choreography has three versions, each consisting of seven moves.<ref name="FortunChoreograph">{{cite book |author=Fortún, Julia Elena   |author-link=Julia Elena Fortún |title=La danza de los diablos |trans-title=The dance of the devils |url=https://books.google.com/books?id=lcVYAAAAMAAJ&q=La+danza+de+los+diablos+%3A+danzas+populares+bolivianas |trans-chapter=Current choreography of the devils dance |chapter=Actual coreografía del baile de los diablos |chapter-url=http://ww2.atlasdeladiversidad.net/docs/escuelas/escuela322/gruposclase/grupoclase830/retratos/retrato13056/actual_coreografia_de_la_diablada.doc |format=DOC |series=Autores bolivianos contemporáneos |volume=5 |year=1961 |publisher=Ministerio de Educación y Bellas Artes, Oficialía Mayor de Cultura Nacional |location=La Paz, Bolivia |language=es |oclc=3346627}}</ref>
-# '''Greetings:''' The dance starts with formations and greetings to the Virgin. The characters are displayed in two columns with the evil characters ([[Satan]], [[Lucifer]] and [[China Supay]]) to one side, the [[Michael (archangel)|Archangel Saint Michael]] to the other and the [[Condor]] in the middle. In formation they greet the rest of the devils to both sides.
-# '''Movings:''' The devils start their greetings in groups of four jumping bouncing on one or other foot.
-# '''Crossings of devil's step:''' S-shape crossings in couples and individuals.
-# '''Curl:''' One column starts a spiral advancing to the centre then the other. Satan and Lucifer stand in the shoulders of several devils to tell their tale.
-# '''Star:''' Represents the rebellion of the rest of the devils against the angel. The figure represented is an inverted [[Pentagram]] as the [[Sigil of Baphomet]] or the ''Signature of the Devil''. Once the devils are knelled the angel enters marching.
-# '''Star banish:''' Once the angel says "Oh evil spirits, get out of these places" the star is dissolved, the angel pronounces a speech and the devils representing the [[seven deadly sins]] [[Confession (religion)|confess]] towards the angel who says "Against arrogance" and the devil yells "Humility!" and regretful and with the head low retires to his row, once the sins are defeated the devils are under the command of the angel and the triumph or joy dance is interpreted.
-# '''Squads:''' Formations with jump-step in rows of four, three, two, and one in front of the angel.
-===Second version===
-[[File:Diablada - Carnaval 2009 at Oruro.jpg|thumb|right|A Diablada dancer wearing a devil mask|210px]]
-# '''Movings:''' In each column there are two leaders named guides or back-guides. The Archangel Saint Michael directs the moves with a whistle, to its signal the devils come from outside to the place of the angel while the ''China Supay'', Satan and Lucifer switch places with him. To the second signal the devils do the same move but jumping. In the centre there is a complementary character such as the bear or condor.
-# '''Curl:''' The spiral is formed and the guides or back-guides hold Satan in their shoulders who pronounces his speech. Then the band plays a slow march and the angel enters with martial step and with a cross and a mirror dazzles the devils and they return to their original places.
-# '''Street:''' There is a representation of the struggle between Lucifer and the angel who wins, then Satan comes to defend his friend and is defeated too. Finally the she-devil ''China Spuay'' representing sin and flesh comes and is defeated as well. Then the angel returns to his original position.
-# '''Squads:''' The ''China Supay'' and the angel on one side and Lucifer and Satan to the other dancing make switches and the devils greet them in groups of four and two.
-# '''Star:''' The shape is formed and with the signal of the whistle the devils kneel, the band plays a slow march and the angel enters to the centre and the star is dissolved calling to the seven deadly sins who defeated go back to their places. Then the guides switch places.
-# '''Chain:''' The dancers do a double chain and dancing holding by their arms first with the right arm then with the left one and going back to their places.
-# '''End:''' The devils go to the centre in groups of four, three two and one finishing the show.
-===Third version===
-[[File:Diablada A.jpg|thumb|right|Diablada choreography in the ''[[Carnaval de Oruro]]'' in Oruro, [[Bolivia]].]]
-The third version is the one performed by the squad [[Gran Tradicional y Auténtica Diablada Oruro]].<ref name="FortunChoreograph" />
-'''Introduction Devil's walk:''' The devils in the left column start the movement while the ones in the right one follow them. Lucifer and Satan are named the "Kings", they are placed behind followed by the Angel and the China Supay and the band to the right side behind the second column of devils. The Kings break the formation followed by the devils, and the Condor and Bear who stay in the middle. Then the Angel and the China Supay go forward passing the middle ones by the side.
-# '''The greet:''' The Kings in the front corners, the Angel and the China Supay in the back corners, and the Bear in the middle. Each perform a greeting movement.
-# '''Curl:''' The devils go to the back then the left column go forward and Lucifer who is in the front meets them in the middle while the circle closes around him, he is picked up for his dialogue with Satan or to be cheered.
-# '''Star:''' The devils form the star then kneel and stand up again.
-# '''By four:''' The squad advances in groups of four, then breaking the formation retiring themselves to each column.
-# '''By three:''' The same movement but this time in groups of three.
-# '''By two:''' Same movement as the two previous ones in couples.
-# '''By one:''' The devils go to the back by the side followed by the Kings, the angel and the China Supay then advance in zig zag drawing a snake, then leaving the scenario led by the Kings.
 ==Music==
-{{Main article|Diablada of Oruro}}
 [[File:Musica diablada 1862 oruro.svg|thumb|center|alt=A partiture of a Diablada tune.|1862 partiture of a ''Diablada'' tune named ''Déjame'' by the composer Froilán Zevillano of the [[Poopó Province]] in [[Oruro, Bolivia|Oruro]], [[Bolivia]].|upright=2.0]]
-The music associated with the dance has two parts: the first which is known as ''the March'' and the second one named ''the Devil's Mecapaqueña'', some squads play only one melody or start the ''Mecapaqueña'' in the fourth movement "by four".<ref name="FortunChoreograph" /> Since the second half of the 20th century "the dialogue" is omitted focusing only in the dance.<ref>[[#refGisbert|Gisbert 2002]], p. 9.</ref>
+The music associated with the dance has two parts: the first is known as ''the March'' and the second one is known as ''the Devil's Mecapaqueña''. Some squads play only one melody or start the ''Mecapaqueña'' in the fourth movement "by four".<ref name="FortunChoreograph" /> Since the second half of the 20th century, dialogue is omitted so the focus is only on the dance.<ref>[[#refGisbert|Gisbert 2002]], p. 9.</ref>
 ==Regional variations==
+=== ''Diablada Puneña'' (Peru) ===
-===Puno===
+[[File:Diablos Caporales from Puno, Peru.png|thumb|''Diablos'' from Puno, Peru.|228x228px]]
-{{Main article|Diablada Puneña}}
+The ''Diablada Puneña'' originated in modern Peru with the in the [[Lupaka]] people in 1576, when they combined tenets of Christianity from the ''autos sacramentales'' with ancient [[Aymara people|Aymara]] traditions.<ref name="RubioZapata" /><ref name="McFarrenChoqueGisbert" /> Some additional influences from the cult of the [[Mary, mother of Jesus|Virgin Mary]] were added in the following century.<ref name="Manzana"/> The Peruvian version of the Diablada was quite different from the Ururo-based Bolivian version until the two merged at the [[Fiesta de la Candelaria (Puno)|Fiesta de la Candelaria]] in 1965. However, the Peruvian versions continue to feature homegrown figures like [[Superman]], [[Native Americans in the United States|American Indians]], [[Mexican people|ancient Mexicans]], and characters from popular films.<ref name="CuentasOrmachea2009">{{cite news |title=Diablada: coreografía, vestimenta y música|author=Cuentas Ormachea, Enrique   |author-link= Enrique Cuentas Ormachea|url=http://www.losandes.com.pe/Cultural/20090823/26162.html|newspaper=[[Los Andes (Puno)|Los Andes]]|location=Puno, Peru|date=23 August 2009|access-date=24 October 2009 |language=es |trans-title=''Diablada'': choreography, clothing and music}}</ref>
-[[File:Diablos Caporales from Puno, Peru.png|thumb|''Diablos'' from Puno.]]
-The ''Diablada Puneña'' is inspired in the [[Lupaka]]s people when they presented their version of the ''Autos Sacramentales'' taught by the Spanish Jesuit priests in 1576 in the city of {{Interlanguage link multi|Juli (city|es|3=Juli|lt=Juli}} in present-day [[Peru]].<ref name="Manzana"/> Nevertheless, the dance holds Native American roots from the cult of [[Anchanchu]], a pre-Hispanic [[Aymara people|Aymara]] deity,<ref name="RubioZapata" /> and the narrative of the ''Myth of the Supaya''.<ref name="McFarrenChoqueGisbert"/> The dance's association with the cult of the Virgin of Candelaria stems from a popular legend that tells that in 1675, in the mine of Laikakota (located near Puno), a Spaniard by the name of José Salcedo changed his decision to destroy the miner's houses because he saw a fire coming out of the mine as a result of the [[Virgin Mary]] fighting the Devil inside the mine.
+The costumes used in the Peruvian Diablata also include influences from [[Tibet]] as well as elements from [[Pre-Columbian Peru|pre-Columbian Peruvian]] cultures such as [[Cerro Sechín|Sechin]], [[Chavín culture|Chavin]], [[Nazca]], and [[Moche (culture)|Mochica]].<ref name="RubioZapata" /> Homegrown masks were produced and sold in Peru starting in 1956.<ref name="JiménezBorja">{{cite book |author=Jiménez Borja, Arturo   |editor=Fundación del Banco Continental para el Fomento de la Educación y la Cultura |title=Máscaras peruanas |trans-title=Peruvian masks |url=https://books.google.com/books?id=fG1uAAAAMAAJ |access-date=24 October 2009 |year=1996 |location=Lima, Peru |language=es}}</ref> Music for the dance was originally performed on the [[Siku (instrument)|siku]],<ref name="MUSEF">{{cite book |author=Museo Nacional de Etnografía y Folklore (Bolivia) |editor=MUSEF |title=Serie anales de la reunión anual de etnología |trans-title=Records of the annual reunion of ethnology series |url=https://books.google.com/books?id=YLsNAAAAYAAJ |access-date=24 October 2009 |volume=2 |year=2003 |publisher=MUSEF |location=La Paz, Bolivia |language=es}}</ref> but that was later replaced by percussionists known as Sicu-Morenos.<ref name="CuentasOrmachea2009" />
-According to historian Enrique Cuentas Ormachea, until 1965 the ''Diablada Puneña'' was very different from the ''[[Diablada of Oruro]]'' when the group ''Los Vaporinos'' (formed by workers from the Peruvian Corp that worked in [[Lake Titicaca]]) began to dance in the [[Fiesta de la Candelaria (Puno)|Fiesta de la Candelaria]] with costumes and bands from Bolivia. Despite this, due to budget restrictions, the groups from Puno couldn't afford hiring Bolivian bands and started using their traditional groupings of ''Sicu-Morenos'', such as the orchestra ''Sikuris del Barrio Mañazo'' (whom integrated this dance in 1922). Nowadays, the dance still maintains its differences from the [[Diablada of Oruro]] and integrates new characters such as [[Superman]], [[Native Americans in the United States|Redskins]], the [[Mexican people|Mexican]], and others taken from films.<ref name="CuentasOrmachea2009" />
+=== ''Fiesta de La Tirana'' (Chile) ===
-Since its beginnings, the performance had a variety of changes. Originally the masks were made from [[plaster]] and the hair from [[baize]] (a coarse woollen cloth). Overtime, the mask models were influenced by [[Tibet]]an masks as well as elements from Native American cultures such as [[Cerro Sechín|Sechin]], [[Chavín culture|Chavin]], [[Nazca]], and [[Moche (culture)|Mochica]].<ref name="RubioZapata"/> These masks were traditionally made by each dancer or bought from a Bolivian mask-maker named Antonio Vizacarra, but in 1956 the brothers Alberto and Ramón Velásquez established a workshop in Puno where masks were created and sold for the event.<ref name="JiménezBorja">{{cite book |author=Jiménez Borja, Arturo   |editor=Fundación del Banco Continental para el Fomento de la Educación y la Cultura |title=Máscaras peruanas |trans-title=Peruvian masks |url=https://books.google.com/books?id=fG1uAAAAMAAJ |access-date=24 October 2009 |year=1996 |location=Lima, Peru |language=es}}</ref> Also, the ''Diablada'' was at first small and reserved for important religious dates in the [[Catholic Church]]. As the dance further developed, the devil dancers began to accompany groups of ''[[Sikuri]]s'', which are an assemblage of musicians that play the ''[[Siku (panpipe)|Siku]]'' (the traditional Andean panpipe). Among the first ''Sikuris'' that surged at this point were those of the ''Barrio Mañazo'' (1892) and ''Juventud Obrera'' (1909).<ref name="MUSEF">{{cite book |author=Museo Nacional de Etnografía y Folklore (Bolivia) |editor=MUSEF |title=Serie anales de la reunión anual de etnología |trans-title=Records of the annual reunion of ethnology series |url=https://books.google.com/books?id=YLsNAAAAYAAJ |access-date=24 October 2009 |volume=2 |year=2003 |publisher=MUSEF |location=La Paz, Bolivia |language=es}}</ref> Nevertheless, anthropologist [[José María Arguedas]] suggests that eventually the role of the ''Sikuris'' was minimized to the point that they began to accompany the devil dancers under the new name of ''Sicu-Morenos''. The ''Sicu-Morenos'' play with sicus, bombos, snare drums, cymbals, and triangles; and they dance [[Huayno]]s while accompanied by characters such as ''Caporales'', minor devils, ''Chinas Diablas'', the old man, the big-lipped negro, the Apache, the lion, the bat, the condor, the bear, the gorilla, and the giraffe (among others).<ref name="CuentasOrmachea2009" /> These characters, along with the central performance of the devil dancers and the archangel [[Saint Michael]], make the ''Diablada Puneña'' one of the dances in the Fiesta de la Candelaria.
+In Chile, the Diablada is performed during the [[Fiesta de La Tirana]] in the northern region of that country. The festival attracts more than 100,000 visitors annually to the small village of [[La Tirana]].<ref name="NorthDancesCL">{{cite web|url=http://www.hamaycan.cl/danzasceremoniales.htm |title=Danzas ceremoniales del área cultural del Norte |publisher=Hamaycan |location=Chile |language=es |trans-title=Ceremonial dances of the northern cultural area |access-date=8 April 2010 |archive-url=https://web.archive.org/web/20090609105439/http://www.hamaycan.cl/danzasceremoniales.htm |archive-date=June 9, 2009 }}</ref> The festival is descended from the celebrations for the [[Our Lady of Mount Carmel|Virgin of Carmen]] that began in 1540.<ref name="NorthDancesCL" />
-===Oruro===
-{{Main article|Diablada of Oruro}}
-[[File:Carnaval de Oruro dia I (60).JPG|thumb|alt=A Diablada dance squad passing through the streets of Oruro.|A Diablada dance squad passing through the streets during the [[Carnaval de Oruro|Oruro Carnival]] in [[Bolivia]].]]
-[[File:Mascara 1880 paria oruro bolivia.jpg|thumb|right|1880 ''Diablada patronal'' squad mask, from Paria, Oruro]]
-The ''Diablada'' of Oruro goes back to the [[pre-Columbian]] period of the [[Uros|Urus]] who used to practice this dance in honour of the god [[Wari (Uru god)|Wari]] (also known as ''Huaricato'' or ''Huari''). With the arrival of the [[Spanish conquest|Spanish conquerors]] and the [[evangelicalism]], this divinity gradually personified the devil. The iconography depicted in the current suits, such as the snake, frog and ants, respond to the [[Uru mythology]] with the belief that if ''Wari'' wouldn't protect them they'd be destroyed by those creatures. Wari after petrifying the creatures retired to the depths of the mountains.<ref name="Pre-ColumbianUrus">{{cite news |title=La diablada orureña se remonta a la época de los Urus precoloniales |url=http://co.wradiofm.com/nota.aspx?id=858474 |newspaper=[[La Razón (La Paz)|La Razón]] |location=La Paz, Bolivia |date=9 August 2009 |access-date=9 April 2010 |language=es |trans-title=The ''Diablada'' of Oruro goes back to the times of the Pre-Columbian Urus |archive-url=https://web.archive.org/web/20110813192031/http://co.wradiofm.com/nota.aspx?id=858474 |archive-date=13 August 2011 |url-status=dead |df=dmy-all }}</ref>
-The Bolivian anthropologist, Milton Eyzaguirre, based on a 16th-century chronicle of [[Bartolomé de Álvarez]] commented that in the Andean region of [[Bolivia]], a cult in honour of the dead, named ''cupay'', was practised. Over the centuries the ''cupay'' derived in ''supay'', the figure of the devil in the modern ''Diablada''. In pre-Columbian times the dead season started in November with the crop season, the conquerors made efforts to coincide the Andean calendar with their festivities, such as the carnival.<ref name="Pre-ColumbianUrus"/>
-The ''Diablada'' as is danced today in was originally the accompaniment of a theatrical play. In Bolivia there are two versions of this play preserved by [[Julia Elena Fortún]]. The oldest of these pieces belongs to the 16th century when in the parties of the city of [[Potosí]] in honour of the [[Virgin of Guadalupe]], this play tells the story of [[Lucifer]] who, riding a horse, delivers a letter to be read to the public telling that [[Proserpina]], the goddess of hell, was the most beautiful. A gentleman, representing the church, faces the demon defending [[Virgin Mary]] as the most beautiful. In the play after this dialogue a tournament started with fireworks and artillery shots followed by a squad of light cavalry of demons wearing black clothes and torches leading a chariot with snakes carrying ''Proserpina''.<ref>[[#refGisbert|Gisbert 2002]], p. 8.</ref>
-[[File:Carnavales Oruro dia II (68).JPG|thumb|left|alt=A crowd gathered in front of the Sanctuary of the Virgin of Socavón.|Sanctuary of the [[Virgin of Socavón]] during the festivities for the [[Carnaval de Oruro|Oruro Carnival]] in [[Bolivia]].]]
-This tradition continued in the city of Oruro over the centuries, in 1789 with the tale of the ''Chiru Chiru'' the festivity had another transformation with the introduction of the tale of the ''[[Seven deadly sins]]'' written by the parish priest Ladislao Montealegre,<ref name="Pre-ColumbianUrus"/> and with the [[Bolivian War of Independence]] the parade was moved to Carnival.<ref name="HarrisPP205-211"/> By the 19th century the tradition had profound roots with the mining and the devotion to the [[Virgin of Socavón]] and, as it was recorded in the newspapers of that time, the dancers made offerings to the feet of the Virgin after the parade. At the beginning it was considered a working class custom but by the ends of the 19th century and beginnings of the 20th century the tradition was popularized reaching all groups of the Oruro society.<ref name="Oruro19thCentury">[[#refOruro19thCentury|Cajías 2009]]</ref>
-The first institutionalized dance squad is the ''[[Gran Tradicional y Auténtica Diablada Oruro]]'' founded on 25 November 1904 by Pedro Pablo Corrales, followed by a ''Tradicional Folklórica Diablada de Oruro'' (1943), ''Diablada Círculo de Artes y Letras'' (1943) and the ''Fraternidad Artística y Cultural ´La Diablada´'' (1944).<ref name="Pre-ColumbianUrus"/> The squad founded by Pedro Pablo Corrales travelled to Peru in 1918 teaching to the squad ''Los Vaporinos'' the dance.<ref name="CuentasOrmacheaPP35-36"/> In 1956 this dance entered [[Chile]] brought by the squad ''Diablada Ferroviaria'' of Oruro which was invited to participate in the [[Fiesta de La Tirana|Tirana festivities]] of that year. The Chilean citizen, Gregorio Ordenes, was inspired by this visit to form the first Chilean ''Diablada'' squad ''Primera Diablada Servidores Virgen del Carmen'' in [[Iquique]].<ref name="MemoriaChilena">{{cite web |url=http://www.memoriachilena.cl/temas/dest.asp?id=folclor3diablada |title=El folclor de Chile y sus tres grandes raíces |trans-title=The Chile’s folklore and its three great roots |publisher=Memorias Chilenas |year=2004 |language=es |access-date=9 December 2009 |archive-url=https://web.archive.org/web/20080911231311/http://www.memoriachilena.cl/temas/dest.asp?id=folclor3diablada |archive-date=11 September 2008 |url-status=dead |df=dmy-all }}</ref>
-In the year 2001, the [[Carnaval de Oruro|Carnival of Oruro]] was declared one of the [[Masterpieces of the Oral and Intangible Heritage of Humanity]] where the ''Diablada'' along with 19 other dances were registered as part of the festivity.<ref name="UNESCO"/> And in the year 2004 the squad ''Gran Tradicional y Auténtica Diablada Oruro'' in its 100th anniversary received the [[Cóndor de Los Andes (award)|''Cóndor de Los Andes'' award]], the highest distinction given by the Bolivian government.<ref name="CondorDeLosAndes">{{cite web |url=http://ecuador.macroclasificado.com/clasificado/698500.html |title=La Diablada De Oruro, máscara danza pagana |trans-title=The ''Diablada'' of Oruro, mask pagan dance |year=2009 |language=es |access-date=9 December 2009 |archive-url=https://web.archive.org/web/20110714013140/http://ecuador.macroclasificado.com/clasificado/698500.html |archive-date=14 July 2011 |url-status=dead |df=dmy-all }}</ref>
-===La Tirana===
-{{Main article|Diablada in Chile}}
-[[File:Diablada de La Tirana.jpg|thumb|alt=A dancer in the Tirana festivity in Chile.|''Diablada'' during the [[Fiesta de la Tirana|Tirana festivity]] in [[Chile]].]]
-The ''Diablada'' in Chile form part of the Tirana festivities, or ''[[Fiesta de La Tirana]]'', a festival of the northern region of that country. The town of [[La Tirana]] is located at 84 kilometres from the city of [[Iquique]] with a population of less than 400 inhabitants but during the week of the festivities, which are held in the week of 12 to 16 July, it receives nearly 120,000 visitors.<ref name="NorthDancesCL">{{cite web|url=http://www.hamaycan.cl/danzasceremoniales.htm |title=Danzas ceremoniales del área cultural del Norte |publisher=Hamaycan |location=Chile |language=es |trans-title=Ceremonial dances of the northern cultural area |access-date=8 April 2010 |url-status=dead |archive-url=https://web.archive.org/web/20090609105439/http://www.hamaycan.cl/danzasceremoniales.htm |archive-date=June 9, 2009 }}</ref> A documentary broadcast by ''Iquique TV'' (A Chilean television station) asserts that the dance has its roots in miners of Oruro.<ref>{{Cite web |url=http://www.iquiquetv.cl/2.0/2010/07/13/iquique-tv-presento-documental-sobre-la-diablada-2 |title=Audiovisual que recoge el origen de la Diablada, con sus raíces en los piques mineros bolivianos, en el marco de una nueva celebración de la Fiesta de La Tirana. El documental contó con el apoyo de la Minera Collahuasi y fue estrenado en la sala de artes de la compañía. Fecha: 13 de julio del 2010 |access-date=2011-03-21 |archive-url=https://web.archive.org/web/20110327182617/http://www.iquiquetv.cl/2.0/2010/07/13/iquique-tv-presento-documental-sobre-la-diablada-2/ |archive-date=2011-03-27 |url-status=dead }}</ref>
-The sanctuary of the [[Our Lady of Mount Carmel|Virgin of Carmen]] was built in the region in the year 1540 and since then the festival is made in her honour in that locality with different dances.<ref name="NorthDancesCL"/>
-There are two kinds of squad organization:
-* '''Ancient type:''' with a structure not too differenced, traditional type authority, paternalistic, religiously guarantee, The power is in one person who is representative of a familiar clan.<ref name="NorthDancesCL"/>
-* '''Modern type:''' has a differenced internal structure, with defined statutes and rules. Tend to be named dance society. There are managers and a director, they are responsible of the social life of the group. There is the figure of the ''Caporal'' as well, who has the authority with respect to the religious activities.<ref name="NorthDancesCL"/>
-The first ''Diablada'' squad in Chile was founded in the city of Iquique by Gregorio Ordenes in 1956 under the name of ''Primera Diablada Servidores Virgen del Carmen'' after the visit of the Bolivian squad ''Diablada Ferroviaria'' to the festival of that year.<ref name="MemoriaChilena"/>
 ==See also==
-*[[Diablada Puneña]]
-*[[Fiesta de la Candelaria (Puno)|Fiesta de la Candelaria]]
 *[[Carnaval de Oruro]]
+*[[Fiesta de la Candelaria (Puno)|Fiesta de la Candelaria]]
-*[[Diablada of Oruro]]
 *[[Fiesta de La Tirana]]
@@ Line 124: / Line 70: @@
 {{refbegin}}
 '''Articles:'''
-*{{cite news |title=Dance of the Devils |url=http://yareah.com/2013/10/2309-dance-devils-artist-charlene-eckels/ |author=Eckels, Charlene |author-link=Eckels Charlene |magazine=[[Yareah]] |location=New York, New York |date=17 October 2013 |access-date=27 October 2013 |trans-title=Dance of the Devils |ref=refBolivia |archive-url=https://web.archive.org/web/20131029201239/http://yareah.com/2013/10/2309-dance-devils-artist-charlene-eckels/ |archive-date=29 October 2013 |url-status=dead |df=dmy-all }}
+*{{cite news |title=Dance of the Devils |url=http://yareah.com/2013/10/2309-dance-devils-artist-charlene-eckels/ |author=Eckels, Charlene |author-link=Eckels Charlene |magazine=[[Yareah]] |location=New York, New York |date=17 October 2013 |access-date=27 October 2013 |trans-title=Dance of the Devils |ref=refBolivia |archive-url=https://web.archive.org/web/20131029201239/http://yareah.com/2013/10/2309-dance-devils-artist-charlene-eckels/ |archive-date=29 October 2013 |df=dmy-all }}
-*{{cite news|title=La diablada orureña ya era noticia en el siglo XIX |url=http://www.la-razon.com/versiones/20090823_006828/nota_269_865807.htm |author=Cajías, Fernando |author-link=Fernando Cajías |newspaper=[[La Razón (La Paz)|La Razón]] |location=La Paz, Bolivia |date=23 August 2009 |access-date=10 December 2009 |language=es |trans-title=The ''Diablada'' of Oruro was already news in the 19th century |ref=refOruro19thCentury |url-status=dead |archive-url=https://web.archive.org/web/20090927151233/http://www.la-razon.com/versiones/20090823_006828/nota_269_865807.htm |archive-date=September 27, 2009 }}
+*{{cite news|title=La diablada orureña ya era noticia en el siglo XIX |url=http://www.la-razon.com/versiones/20090823_006828/nota_269_865807.htm |author=Cajías, Fernando |author-link=Fernando Cajías |newspaper=[[La Razón (La Paz)|La Razón]] |location=La Paz, Bolivia |date=23 August 2009 |access-date=10 December 2009 |language=es |trans-title=The ''Diablada'' of Oruro was already news in the 19th century |ref=refOruro19thCentury |archive-url=https://web.archive.org/web/20090927151233/http://www.la-razon.com/versiones/20090823_006828/nota_269_865807.htm |archive-date=September 27, 2009 }}
-*{{cite journal|author=Cuentas Ormachea, Enrique|author-link=Enrique Cuentas Ormachea|date=March 1986|title=La Diablada: Una expresión de coreografía mestiza del Altiplano del Collao|trans-title=The ''Diablada'': A mixed race choreographic expression of the Altiplano in the Collao|journal=Boletín de Lima|volume=year 8|issue=44|publisher=Editorial Los Pinos|location=Lima, Peru|issn=0253-0015|url=http://www.unet.univie.ac.at/~a9750175/spanisch/diablada_punenia.htm|language=es|format=PNG|access-date=November 24, 2009|ref=refCuentasOrmachea1986|archive-url=https://web.archive.org/web/20100616140036/http://www.unet.univie.ac.at/~a9750175/spanisch/diablada_punenia.htm|archive-date=June 16, 2010|url-status=dead|df=mdy-all}}
+*{{cite journal|author=Cuentas Ormachea, Enrique|author-link=Enrique Cuentas Ormachea|date=March 1986|title=La Diablada: Una expresión de coreografía mestiza del Altiplano del Collao|trans-title=The ''Diablada'': A mixed race choreographic expression of the Altiplano in the Collao|journal=Boletín de Lima|volume=year 8|issue=44|publisher=Editorial Los Pinos|location=Lima, Peru|issn=0253-0015|url=http://www.unet.univie.ac.at/~a9750175/spanisch/diablada_punenia.htm|language=es|format=PNG|access-date=November 24, 2009|ref=refCuentasOrmachea1986|archive-url=https://web.archive.org/web/20100616140036/http://www.unet.univie.ac.at/~a9750175/spanisch/diablada_punenia.htm|archive-date=June 16, 2010|df=mdy-all}}
 *{{cite news |title=Sobre diablos y diabladas, A propósito de apreciaciones sesgadas |author=Echevers Tórrez, Diego   |url=http://www.lapatriaenlinea.com/index.php?nota=3543 |newspaper=[[La Patria (Oruro)|La Patria]] |location=Oruro, Bolivia |date=3 October 2009 |access-date=8 January 2010 |language=es |trans-title=About devils and ''Diabladas'', speaking about biased interpretations|ref=refDiablosDiabladas}}
-*{{cite web |url=http://www.cholonautas.edu.pe/modulo/upload/gisbert.pdf |title=El control de lo imaginario: teatralización de la fiesta |author=Gisbert, Teresa |author-link=Teresa Gisbert |date=December 2002 |work=Módulo: Estudios de caso&nbsp;– Session 14, Lecture 3 |publisher=Instituto de Estudios Peruanos |location=Lima, Peru |language=es |trans-title=The control of the imaginary: theatralization of the party |access-date=8 April 2010 |ref=refGisbert |archive-url=https://web.archive.org/web/20110719035729/http://www.cholonautas.edu.pe/modulo/upload/gisbert.pdf |archive-date=19 July 2011 |url-status=dead |df=dmy-all }}
+*{{cite web |url=http://www.cholonautas.edu.pe/modulo/upload/gisbert.pdf |title=El control de lo imaginario: teatralización de la fiesta |author=Gisbert, Teresa |author-link=Teresa Gisbert |date=December 2002 |work=Módulo: Estudios de caso&nbsp;– Session 14, Lecture 3 |publisher=Instituto de Estudios Peruanos |location=Lima, Peru |language=es |trans-title=The control of the imaginary: theatralization of the party |access-date=8 April 2010 |ref=refGisbert |archive-url=https://web.archive.org/web/20110719035729/http://www.cholonautas.edu.pe/modulo/upload/gisbert.pdf |archive-date=19 July 2011 |df=dmy-all }}
 *{{cite web |url=http://www.balldediables.org/index.php?option=com_content&task=view&id=217&Itemid=31 |title=Concomitàncies entre els balls de diables catalans i les diabladas d'Amèrica del Sud |author=Rius i Mercade, Jordi   |date=18 January 2008 |publisher=Junta del Ball de Diables www.balldediables.org |location=Tarragona, Spain |language=ca |trans-title=Concomitances between the ''Ball de diables'' and the ''Diabladas'' of South America |access-date=10 December 2009|ref=refRiusIMercade}}
 *Thomas M Landy, [https://www.catholicsandcultures.org/chile/dancing-virgin-la-tirana "Dancing for the Virgin at La Tirana"], ''Catholics & Cultures'' updated February 17, 2017
 '''Books'''
-*{{cite book |author=Asociación de Conjuntos del Folklore de Oruro |author-link=Asociación de Conjuntos del Folklore de Oruro |editor=UNESCO |editor-link=UNESCO |title=Formulario de Candidatura para la proclamación del Carnaval de Oruro como Obra Maestra del Patrimonio Oral e Intangible de la Humanidad |trans-title=Candidature Form for the proclamation of the ''Carnaval de Oruro'' as Masterpiece of the Oral and Intangible Heritage of Humanity |url=http://www.carnavaldeoruroacfo.com/documentos/FORMULARIO%20DE%20CANDIDATURA.pdf |access-date=11 January 2010 |year=2001 |location=Oruro, Bolivia |language=es |ref=refUNESCOform |archive-url=https://web.archive.org/web/20091104051802/http://www.carnavaldeoruroacfo.com/documentos/FORMULARIO%20DE%20CANDIDATURA.pdf |archive-date=4 November 2009 |url-status=dead |df=dmy-all }}
+*{{cite book |author=Asociación de Conjuntos del Folklore de Oruro |author-link=Asociación de Conjuntos del Folklore de Oruro |editor=UNESCO |editor-link=UNESCO |title=Formulario de Candidatura para la proclamación del Carnaval de Oruro como Obra Maestra del Patrimonio Oral e Intangible de la Humanidad |trans-title=Candidature Form for the proclamation of the ''Carnaval de Oruro'' as Masterpiece of the Oral and Intangible Heritage of Humanity |url=http://www.carnavaldeoruroacfo.com/documentos/FORMULARIO%20DE%20CANDIDATURA.pdf |access-date=11 January 2010 |year=2001 |location=Oruro, Bolivia |language=es |ref=refUNESCOform |archive-url=https://web.archive.org/web/20091104051802/http://www.carnavaldeoruroacfo.com/documentos/FORMULARIO%20DE%20CANDIDATURA.pdf |archive-date=4 November 2009 |df=dmy-all }}
 *{{cite book |author=Fortún, Julia Elena   |author-link=Julia Elena Fortún |title=La danza de los diablos |trans-title=The dance of the devils |url=https://books.google.com/books?id=lcVYAAAAMAAJ&q=La+danza+de+los+diablos+%3A+danzas+populares+bolivianas |series=Autores bolivianos contemporáneos |volume=5 |year=1961 |publisher=Ministerio de Educación y Bellas Artes, Oficialía Mayor de Cultura Nacional |location=La Paz, Bolivia |language=es |oclc=3346627 |ref=refFortun1961}}
-*{{cite book |author=Guamán Poma de Ayala, Felipe   |author-link=Felipe Guaman Poma de Ayala |editor=Fundacion Biblioteca Ayacucho |title=El Primer Nueva Corónica y Buen Gobierno |trans-title=The First New Chronicle and Good Government |url=https://books.google.com/books?id=PPy78ZxOo28C&q=Felipe+Guam%C3%A1n+Poma+de+Ayala |volume=2 |year=1980 |orig-year=1615 |location=Caracas, Venezuela |language=es |isbn=84-660-0056-9 |oclc=8184767 |ref=refGuamanPoma1615}}
+*{{cite book |author=Guamán Poma de Ayala, Felipe   |author-link=Felipe Guaman Poma de Ayala |editor=Fundacion Biblioteca Ayacucho |title=El Primer Nueva Corónica y Buen Gobierno |trans-title=The First New Chronicle and Good Government |url=https://books.google.com/books?id=PPy78ZxOo28C&q=Felipe+Guam%C3%A1n+Poma+de+Ayala |volume=2 |year=1980 |orig-date=1615 |location=Caracas, Venezuela |language=es |isbn=84-660-0056-9 |oclc=8184767 |ref=refGuamanPoma1615}}
 *{{cite book |author=Harris, Max   |title=Carnival and other Christian festivals: folk theology and folk performance |url=https://books.google.com/books?id=HgWOD2ZT_A4C |series=Joe R. and Teresa Lozano Long series in Latin American and Latino art and culture |year=2003 |publisher=University of Texas Press |location=Austin, United States |isbn=978-0-292-70191-5 |oclc=52208546 |chapter=The Sins of the Carnival Virgin (Bolivia)|chapter-url=https://books.google.com/books?id=HgWOD2ZT_A4C&pg=PA205 |ref=refHarris2003}}
 *{{cite book |author=Salles-Reese, Verónica   |title=From Viracocha to the Virgin of Copacabana: representation of the sacred at Lake Titicaca |url=https://books.google.com/books?id=bFNMgrfXsUkC |edition=1 |year=1997 |publisher=University of Texas Press |location=Austin, United States |isbn=978-0-292-77713-2 |oclc=34722267 |ref=refSalles-Reese}}
 *{{cite book |author=Santa Cruz, Nicomedes   |author-link=Nicomedes Santa Cruz |title=Obras Completas II. Investigación (1958-1991) |trans-title=Complete Works II. Investigation (1958-1991) |url=https://books.google.com/books?id=Ysqz9XsfczYC |series=Obras completas, Nicomedes Santa Cruz |volume=2 |year=2004 |editor=LibrosEnRed |language=es |isbn=1-59754-014-5 |ref=refSantaCruz2004}}
+{{refend}}
 ==External links==
 {{Commons category|Diablada}}
-* [http://www.minculturas.gob.bo/index.php Cultures Ministry of Bolivia] {{in lang|es}}
+* [http://www.minculturas.gob.bo/index.php Cultures Ministry of Bolivia] {{Webarchive|url=https://web.archive.org/web/20091011044830/http://www.minculturas.gob.bo/index.php |date=2009-10-11 }} {{in lang|es}}
 * [http://www.carnavaldeoruroacfo.com/acfo.html Folklore's Group Association - Oruro] {{in lang|es}}
 * [https://web.archive.org/web/20090118152107/http://www.inc.gob.pe/ National Culture Institute - Peru] {{in lang|es}}

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Latest revision as of 11:14, 25 May 2024